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Marvel Book A:Marvel Book 8/20/09 11:58 PM Page 1
Marvel Comics
in the 1960s:
An Issue by Issue Field Guide to a

Pop Culture Phenomenon
by Pierre Comtois
TwoMorrows Publishing
Raleigh, North Carolina
Marvel Comics In The 1960s

An Issue by Issue Field Guide to a Pop Culture Phenomenon
Written by Pierre Comtois

Edited by John Morrow
Designed by Richard J. Fowlks
Proofreading by Eric Nolen-Weathington
TwoMorrows Publishing
10407 Bedfordtown Drive
Raleigh, North Carolina 27614
www.twomorrows.com • e-mail: twomorrow@aol.com
©2009 Pierre Comtois and TwoMorrows Publishing

First Printing • August 2009 • Printed in Canada
Softcover ISBN: 978-1-60549-016-8
Dedication
To Stan, Jack, Steve, and Don
Acknowledgements
The evolution of this work from conception to publication was a long one and could not have been accomplished without
the input, aid, and assistance of a number of people, including Louis Beaudette, an older boy in the neighborhood who
first introduced me to Marvel Comics in 1964. In later years, long conversations about favorite artists, writers, and books
with fellow Marvel fans supreme Greg Montejo, Ron Zimmerman, Chris Porter, and Steve Gomes helped crystallize my
thoughts on those subjects and motivated me to put them down on paper. Partial posting of an early version of the work
on Nick Simon’s Silver Age Marvel website inspired me to consider it as a possible book project, and after submitting the
completed manuscript to a number of publishers, TwoMorrows Publishing had the wisdom to see its worth.
Thanks, too, to Jerry Boyd for the gift of some wonderful scans. Much love to Heritage Art Gallery (www.ha.com) for their
voluminous vault of original artwork. A huge tip of the hat to the Grand Comic Book Database (www.comics.org) for some
real heavy lifting cataloging creators of comic books.
Visit www.pierrevcomtois.com.
2 Mar vel Comics in the 1960s

Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Part I: The Early, Formative Years . . . . . . . . . . . . 11
Part II: The Years of Consolidation . . . . . . . . . . 57
Part III: The Grandiose Years . . . . . . . . . . . . . . 95
Creator Spotlights:
Stan Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Jack Kirby. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Steve Ditko . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Don Heck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Bill Everett . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Joe Sinnott . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
George Tuska . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Gene Colan . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
John Severin . . . . . . . . . . . . . . . . . . . . . . . . . . 122
John Romita . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Jim Steranko . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Marie Severin. . . . . . . . . . . . . . . . . . . . . . . . . . 157
Herb Trimpe. . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Roy Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
John Buscema . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Barry Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Key Marvel Moments:

Merry Marvel Marching Society . . . . . . . . . . . 73
Marvel Swag . . . . . . . . . . . . . . . . . . . . . . . 85, 141
F.O.O.M. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Marvelmania . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Contents 3
Copyrights
The following images (as indicated by the page number each Action Comics, Adventure Comics, All American Western,
appears on) are ©2009 Marvel Characters, Inc. Used with Aquaman, Batman, Blue Beetle, Boy Commandos , Challengers of
permission. the Unknown, Deadman, Doom Patrol, Flash, Forever People,
Girls’ Love, Green Arrow, Haunted Tank, Hopalong Cassidy,
Ant-Man (28, 110) Justice League of America, Lois Lane, Mandrake the Magician,
Aunt May (90) Martian Manhunter, Our Army At War, Robin, Secret Hearts,
Avengers (40, 83, 85, 168, 174, 217) Snapper Carr, Superboy, Superman, Wonder Woman TM & © DC
Black Bolt (168) Comics.
Bucky (137, 223)
Black Magic, Headline Comics, Fighting American, Young Love,
Captain America (83, 137, 141, 223)
Justice Traps The Guilty TM & © Joe Simon and Jack Kirby
Captain Mar-Vell (178)
Estate.
Captain Savage (123)
Combat Kelly (123) Creepy TM & © Warren Publications.
Daredevil (66, 128, 155, 166, 192, 206, 221)
Crime SuspenseStories, Weird Science, Weird Science-Fantasy TM
Dormammu (135)
& © EC Comics.
Dr. Doom (127, 150)
Dr. Strange (43, 52, 135, 186) Frankenstein © Universal.
Fantastic Four (14, 33, 81, 85, 104, 125, 150, 159, 182)
Indiana Jones TM & © Lucasfilm.
Galactus (125)
Gwen Stacy (163) Kull, Spyman, Horrific, Weird Terror, Danger, Captain Gallant of
Giant-Man (58, 59, 83, 148) the Foreign Legion, Smash Comics, Doc Savage, James Bond,
Green Goblin (144) Flash Gordon, The Spider TM & © respective owners.
Hercules (98)
Race For The Moon TM & © Joe Simon.
Hulk (20, 31, 33, 58, 62, 72, 85)
Human Torch (45, 55, 141) Secrets Behind The Comics, Mrs. Lyons’ Cubs TM & © Stan Lee.
Iron Man (24, 53, 58, 74, 75, 83, 119, 141, 146, 184)
Shield TM & © Archie Comics.
J. Jonah Jameson (80, 165)
Leap Frog (155) Sky Masters of the Space Force TM & © Jack Kirby Estate.
Magneto (50, 77, 216)
This Magazine Is Haunted, Daring Love, Cheyenne Kid, Weird
Mandarin (75)
Tales of Suspence TM and © Charlton Comics.
MMMS and Marvelmania club artwork (4, 73, 168)
Mr. Hyde (70)
Not Brand Echh (183)
Peter Parker (110)
Rawhide Kid (12, 14)
Sentinels (109)
Sgt. Fury/Nick Fury (58, 121, 188, 200, 214)
Silver Surfer (125, 150, 202)
Spider-Man (24, 37, 45, 47, 53, 55, 58, 85, 90, 93, 110, 112, 127, 128,
133, 141, 144, 162, 165, 198, 201)
Sub-Mariner (81, 100, 146, 210)
Thing (18)
Thor (25, 40, 58, 62, 70, 77, 83, 98, 116, 140, 142, 168, 171, 172, 196)
Vulture (53)
Wasp (59)
Watcher (104, 125)
X-Men (50, 83, 109, 216)
Bibliography
The World Encyclopedia of Comics, Maurice Horn, ed.; Avon Books (1976).
Marvel: Five Fabulous Decades of the World’s Greatest Comics, Les Daniels, ed.; Marvel Entertainment Group (1991)
Comix: A History of Comic Books in America, Les Daniels, ed.; Mad Peck Studios (1971).
“Jack Kirby Collector,” John Morrow, ed.; TwoMorrows Publishing.
“Alter Ego,” Roy Thomas, ed.; TwoMorrows Publishing.
“Comic Book Artist,” Jon B. Cooke, ed.; TwoMorrows Publishing.
“The Jack Kirby Checklist,” TwoMorrows Publishing.
“Pure Images,” edited and written by Greg Theakston, Pure Imagination.
“The Comics,” published and edited by Robin Snyder.

Introduction
W hy a “field guide?” Simply put, because the latest comics or those young at heart who’d sim-
there was a lot to like about Marvel Comics ply like to reacquaint themselves with old friends
in the 1960s, when everything about the after many years. Designed for the casual browser as
company seemed new and anything was possible. well as those already familiar with its subject, the
But all that was almost a half-century ago and book can be read from the beginning or opened at
Spider-Man, Hulk and their costumed cohorts have any page for quick reference. What allows such ver-
been with some of us since before we were born. By satility is the book’s unique format which includes a
now, everyone knows all about them, they’ve text divided into easily digestible, quick to read
become the latest cultural icons and have proven “capsule reviews” of hundreds of the most impor-
their staying power in movies, books, computer tant (and a few not so important) individual issues
games, even theme parks. What need to go back to of Marvel Comics from the 1960s. These capsule
pre-historic times to find out more about them? The commentaries not only provide brief but succinct
short answer is that most people don’t know all about roundups of the action and significance of the
them, the company that spawned them, and especial- comics discussed, but also who wrote and drew
ly the creative minds of the them, where the creators
editors, writers, and artists received their inspiration,
that invented them. Today, what their backgrounds
more than ever, with tens were and where it all fits into
of thousands of people the pop culture scene of the
becoming newly interested times. Here, the reader will
in the universe of Marvel be introduced to pop-culture
heroes, an easy to use guru and mastermind of
handbook or “field guide” to Marvel Comics, Stan Lee;
their origins is indispensable. the pulse-pounding art of
That’s the reason this action king, Jack Kirby;
book was written (and its the inscrutable master of
subsequent volume covering psychological and angst-
Marvel’s Twilight Years), ridden art, Steve Ditko; the
to provide a handy, easy to cool master of psychedelia
use and, especially, fun ref- and fast track pop-art, Jim
erence volume for anyone, Steranko; the free form, near
whether youngsters whose Before Stan Lee there was Joe Simon; photographic realism of
only familiarity with the Jack Kirby’s other partner through the Gene Colan; Lee’s heir
characters is from movies or 1940s and ‘50s. apparent and second editor
Introduction 5
of the Marvel line of to open up the stuffy

books, Roy Thomas; the world of art criticism to
pre-Raphaelite beauty of include the creative
artist Barry Smith; and products of pop culture.
many others including Colliding with the
artists Neal Adams, John rising popularity of
Buscema, Gil Kane, Tom Marvel Comics of the
Palmer, Dan Adkins, mid-to-late 1960s, these
Wally Wood, John trends opened the public
Romita, and Don Heck. mind to the worth of
But before plunging such products of popular
into the deep end of the culture as comic books
pool, a reader might do and the possibility that
well to first orient himself they could be more than
regarding just how disposable art created
Marvel Comics fit into the for children.
bigger picture of the At the center of that
comics industry itself. sea change in popular
Even the company that perception was Marvel
was to revolutionize editor in chief, Stan Lee
comics, after all, didn’t and his chief lieutenants,
spring full-blown from Jack Kirby and Steve
the brow of Stan Lee! The furor spearheaded by Dr. Frederic Ditko.
Wertham’s Seduction of the Innocent led to the
It all began in the late By the early 1960s,
end of EC’s popular line of horror comics and
1930s, when comic books the establishment of the Comics Code Authority. aside from a brief stint in
in America and as a mass the army and occasional
medium (million-selling attempts to break out
titles were not uncommon in the 1940s) were viewed with newspaper strip features or humor books,
by the public at large, and with justification, as juve- Lee had spent his entire working career in the comic
nile literature. This was especially true when comic book field. He managed to get his foot in the door in
books ceased to be the forum for reprints of widely 1940 when he was still known as Stanley Lieber, and
popular newspaper strips and became, instead, the Martin Goodman, his cousin’s husband (or something
domain of colorfully costumed super-heroes. With like that) who was in the habit of giving jobs to his
the advent of Superman and his descendents, comic relatives anyway, hired him and set him to work with
books became inevitably associated with chil- Joe Simon, editor of the publishing company’s newly
dren’s entertainment. And so, when some publish- formed Timely comic book division.
ers in the 1950s (most notably EC Comics) began to
present comics whose content was primarily that of
violence and gore, the wider public became con-
cerned, and when even the federal government
threatened to step in to regulate the industry, pub-
lishers were frightened into forming the Comics
Code Authority in self-defense. Guided by strict
rules designed to shield the nation’s youngsters
from harmful content, comic books came to be seen
more than ever as the province of children.
Until, that is, Marvel Comics came along in the
early 1960s.
As it would later turn out, the decade of the sixties
was a time of vast social upheaval when many
began to reappraise the status quo; rebellion was in
the air regarding civil rights and justification of the
Goodman’s company was a going concern in
Vietnam War. It even reached the art world where
1942 when this photo of its staff was taken.
artists like Andy Warhol and Roy Lichtenstein began

At the time, Simon and his partner, Jack Kirby, were already big wheels
in the comic industry. Both had spent time earlier in their careers in
independently operated “shops” that contracted with publishers to
provide them with fully rendered packages of completed comic book titles:
editing, scripting, penciling, and inking were all covered and delivered to
clients ready for printing. But publishers, always interested in finding ways
to save money, soon figured out that if they could cut out the middle man
and do the work themselves, they could save money. And so, when
Goodman decided to do just that, he created Timely Comics and hired
Simon to run it for him. Simon, in turn, brought in Kirby, and the two
began a long and fruitful career as partners in the comics industry.
© 2009 Marvel Characters, Inc.
Simon and Kirby kept busy through the 1950s, sometimes

following trends and sometimes blazing their own trails with titles
such as Black Magic, Justice Traps the Guilty, and Young Love.
Introduction 7
Together, Simon and Kirby co-created Captain and some mild successes with humor. By the late
America, the new company’s first major star, and 1950s, he was working at moving out of the artistic
were riding high on that triumph when Lee entered basement of comic books and into the penthouse
the scene as office boy at age 17 doing everything of newspaper comic strips, but with only limited
from erasing Kirby’s pencils after his art pages were success.
inked to writing single-page text features to save Meeting the same kind of disappointment was
Goodman on postage rates. His first text piece Jack Kirby, who, although returning from the war
appeared in Captain America #3 and was signed as scarred by his experiences of battle, barely skipped
being by “Stan Lee.” But not all was right at Timely. a beat as he immediately hooked up again with
Suspecting that Goodman was shortchanging them, Simon to reassert their place in the industry as the
Simon and Kirby began to moonlight for other premier producers of comics. The two struck gold
publishers, and when they were discovered, by adapting pulp magazine style romance to comics
Goodman fired them. As a result, Lee suddenly and managing to find a previously untapped vein
found himself taking over as editor. of female readers. Next, they started Black Magic,
Although Goodman a horror comic that was an early precursor of the
had intended to eventually deluge of even more virulent fare from other publishers
hire a more experienced that would eventually lead to congressional hearings
replacement for Simon, and the establishment of the Comics Code
he never seemed to get Authority. In 1954, the pair went independent and
around to it, and anyway started their own company under the Mainline
Lee seemed to be doing label, but dissolved it along with their partnership
all right at the job. So only two years later.
there Lee remained as Although Simon, never a shy sort, had no diffi-
the Timely line of comics culty securing work in a string of editorial positions
slowly grew. Acting as following the demise of Mainline, Kirby found him-
both editor and art self increasingly at loose ends. Many comic book
director, he learned companies used the bad press that came out of the
about the comics industry congressional hearings to cut their growing losses
from every angle and and dissolved their comic book divisions resulting
developed a professional in a stratification of the industry that was dominat-
Timely publisher eye for art and an ear for ed by a handful of large publishers, each with their
Martin Goodman. a turn of phrase that own “house styles.” Styles that Kirby’s unique
would serve him well as brand of art seemed unable to fit. By the late 1950s,
the company became one of the largest producers of Kirby was lucky to get a few assignments from DC,
comics in the industry. He was also on hand for the for whom he had co-created many of its best-selling
less savory part of the job when he had to tell titles in years past.
employees and loyal freelancers that their services It was while Kirby was keeping busy with weird
were no longer required because cousin Martin fantasy stories, five-page back-ups of Green Arrow
decided to cut back on production when inventory and introducing a new feature called “Challengers
began to pile up. of the Unknown,” that he partnered with the power-
Lee himself was replaced once, and only briefly, ful Jack Schiff, a managing editor at DC, to create a
while he served in the army, but when he returned newspaper strip called Sky Masters. Like Lee over at
he found his old job waiting for him, and throughout Atlas (or Marvel or Timely or Magazine Management,
the 1950s he wrote thousands of comic book scripts whatever Goodman was calling his company that
for every imaginable genre, constantly honing his lit- week), Kirby had visions of breaking out of comics
erary skills, finding different voices to tell his sto- and into the far more lucrative and more prestigious
ries and even guided a failed attempt to bring back field of newspaper strips. But although he had a
the company’s super-heroes who had faded since strong start out of the gate, a falling out with Schiff
the glory years of the 1940s. Throughout, however, over money and subsequent litigation sundered the
Lee began to fear that he was caught in a rut, that relationship and ended that dream as well as his job
his writing skills, keen as they were, might only be at DC where he soon became persona non grata. Across
fit for the ghetto of comic books. He yearned to do what looked like an increasingly bleak comic book
some serious writing, a novel or a screenplay, but landscape, Kirby managed to pick up work here
managed only a book on how to write for comics and there with Simon at Archie Comics and other

with young people on college campuses across

An attempt to break out of the comic book
ghetto into the more lucrative (and respected)
the country. His consciousness having been raised,
world of newspaper strips, Kirby’s short-lived Lee began to include elements that gave his books
Sky Masters strip featured lush inking by an immediacy to his readers and a relevance to the
wally wood. times that were unheard of in comics before.
And so, Marvel Comics was able to transcend its
smaller companies before finally approaching Lee juvenile, mass entertainment origins to become a
for some freelance assignments. His timing was staple of the counterculture, an emblem of coolness:
good, but not the best. film auteur Alain Renais worked on a movie script
Atlas (or Marvel) had suffered another one of its with Lee; the royalty of the San Francisco rock
reverses, but this time it was worse than ever. In a scene put on a Benefit Concert for (Marvel Comics
bad business move, Goodman had sold off his character) Dr. Strange; magazines like Rolling Stone
magazine distribution company and signed on and Esquire, which defined what was hip, often
with the American News Company which promptly featured articles on Marvel Comics; and Marvel
went out of business leaving him with no way to Comics itself became the preferred reading material
get his magazines to the newsstands. Desperate, between exams at college campuses across the
he brokered a deal with rival DC Comics that country. The movement finally culminated in 1972
allowed him to remain in business but limited his when Lee, accompanied by a line-up of pop-culture
comic book company to the production of only celebrities, hosted a Marvel Comics night at New
eight titles per month. The consequent “implosion” York’s Carnegie Hall.
resulted in massive layoffs of both employees and That said, Marvel Comics in the 1960s: An Issue by
freelancers, a catastrophe from which Lee as editor Issue Field Guide to a Pop-Culture Phenomenon is
in chief of the company’s comic book division was intended to be a kind of history/handbook for
only beginning to regain his balance as the 1950s anyone interested in finding out more about Marvel
drew to a close. Thus, when Kirby knocked on the Comics and the origins of characters that are at last
door in 1958, Lee was ready to take on more on the cusp of becoming genuine cultural icons.
freelance help and finding himself able to afford Making it even easier to use, the entries are divided
the co-creator of Captain America, was more than into distinct groups representing the first three
happy to give the artist work. phases in the development of 1960s Marvel Comics:
As time passed, and the two began to test the the Early Years, the Years of Consolidation, and the
waters for super-heroic characters again, they found Grandiose Years. (The last phase called the Twilight
the temperatures to their liking…and the readers’. Years will be featured in a second volume.)
Virtually unplanned, they discovered new wrinkles Although it’s not necessary to start reading from the
in the shopworn super-hero formula and in time, beginning to enjoy the book, doing so would provide
Lee in particular grew increasingly attuned with the the reader with a better sense of the beginnings of
times and realized that his comics (which he filled Marvel Comics, how it evolved under the guidance
with a kind of self-deprecating humor that gently of Stan Lee, became a pop culture phenomenon
mocked the inherent seriousness of the super-hero and finally, after leading the industry for a decade,
as American icon and authority figure) were resonating itself became what many of its readers most feared,
the new establishment.
Introduction 9
Stan Lee
B efore he was “the man,” Stan Lee was just plain Stanley
Leiber, who picked up odd jobs all over New York City where
he was born in 1927 before finally making a connection with
a relative who got him in to see Joe Simon, an editor at
cousin-in-law Martin Goodman’s Timely Comics. At loose
ends, Stan had nothing to lose so he might as well have tried
the slightly shady comics industry. At one time, Stan liked to
tell the story of winning writing contests offered by the local
newspapers, which may or may not have been true; more likely,
the youngster spent hours reading practically anything he
could get his hands on, and in the 1930s that usually meant
pulp magazines where the earliest versions of
what would later be known as “super-heroes”
and “super-villains” first appeared. Anyway,
with his first official assignment at Timely,
Stan’s knack for the written word soon made
itself apparent: a text piece for Captain America
Comics #3 (1941) that he signed for the first time
as “Stan Lee.” Soon after, he jumped to straight
scripting, coming up with his first super-hero
creation, the Destroyer, and another called Jack
Frost. Then fate took a hand. Simon and art
director Jack Kirby left the company after a
dispute with Goodman, and the next thing
19-year-old Stan knew, he was promoted and
doing the work of both editor and art director.
On a temporary basis, you understand. But
months stretched into years, and except for a
relatively brief hiatus in the Army, he stayed on
the job for over three decades. During that time,
he learned the nuts and bolts of copy editing
and layout and wrote thousands of scripts in
every kind of genre,
providing him a training
ground in developing
different literary voices,
approaches to storytelling,
and what things sold
comics and what things
didn’t. Experience that
would be invaluable
when it came time to flesh
out personalities for the
revolutionary characters
that would make him
famous during the
Silver Age.

Part I
The Early, Formative Years
J udging by their impact on the industry

over the last thirty years, those books
published by Marvel Comics in the years
between 1960-1973 remain the single most
changes didn’t go far enough. Comics were
still perceived by the editors there and else-
where as kid stuff. It was that blind spot that
Marvel was soon to take advantage of,
influential group of comics produced in the recreating the image of the super-hero
final decades of the twentieth century. The in such a way that it solidified the posi-
only other comparable example would be tion of the costumed adventurer as the
that of DC Comics, then known as National dominant element in modern comics.
Periodicals, when it introduced Superman So powerful was Marvel’s hold on
to the reading public in 1938 and turned the the imagination of readers that the
comics industry into a true mass medium. new kind of hero eventually swept
The success of Superman helped DC to aside almost every other kind of
become the industry’s most powerful publisher, comics including romance, horror,
a position it continued to enjoy well into the western and war—all genres that had
1960s, and with which it took the lead in existed in abundance in the early sixties.
reopening the market to super-heroes in the However it started, the revolution led by
previous decade. In doing so, the editors at DC Marvel in the 1960s began with the slow
led the field in innovations such as updating but steady progression of storytelling
characters that had grown somewhat stale complexity as the company, helmed by
since their first appearances in the 1940s editor Stan Lee, moved from an early
and paved the way for what has since determination to try something new, to
been labeled the Silver Age of comics. a growing consciousness that it had
Although what DC had done to stumbled onto something fraught with
update its heroes was okay so far as it potentiality. This whole period (the Silver
went, the problem was that the Age of comics, or Marvel Age as Lee was
fond of calling it) marking Marvel’s
progress, breaks down roughly into four phases:
Stan Lee in the early 1960s before he became a the early, formative years; the years of consolidation;
pop culture guru!
the later, grandiose years; and the twilight era.
The Early, Formative Years 11

The early, formative years grew out of a period in Marvel’s history that Hulk and the Thing were direct
was dominated not by super-heroes but by westerns, teen humor, romance descendents of many of the brutes
and weird adventure comics. It was among these categories that many of that roamed through scores of
the themes incorporated in the later super-hero comics were first explored: weird tales, and the desperate,
western heroes like the Two-Gun Kid and the Rawhide Kid were paranoid characters who populated
misunderstood outcasts just as Spider-Man and the X-Men would be, the Lee and artist Steve Ditko’s fantasy
stories would later seek out the help
of Dr. Strange or skulk in dark alleys
for an unwary Daredevil. Here, at
the dawn of the Marvel Age of
comics, it was doubtful that even
Lee himself had any idea of what he
was starting with Fantastic Four #1.
All he knew at the time was that
he had a vague idea of doing
something different with the old
super-hero formula.
It was lucky
then, that just when
he was needed the
most, artist Jack
Kirby had reap-
peared at Marvel.
At the time, Atlas, as
Marvel was then
known, had been
forced to reduce its
line of hundreds of
comic book titles to
only a handful; so few in fact, that a
single artist could almost cover
them all by himself. How did it
happen? In a move that probably
made sense at the time, publisher
Martin Goodman had divested
himself of his magazine distribution
network hoping to rely on an
independent operator. Those plans
fell through when the American
News Company went out of
business leaving Goodman with no
way to market his comics. A deal

with rival National Periodicals
solved that problem…in a way.
They would agree to distribute
Goodman’s books, but only eight
each month. Thus, if it chose, by
juggling its publishing schedule
with a number of bi-monthly books,
Rawhide Kid #28, page 4. In Marvel’s pre-hero westerns, Lee and Marvel could produce up to 16
Kirby explored some of the territory they would later cover in
their super-hero stories. Characters like the Rawhide Kid were
different titles every two months.
often portrayed as outsiders, with cowboy garb that resembled Among them such old standbys as
costumes and physical skills that bordered on the super-heroic. Strange Tales, Tales to Astonish, Tales of
Suspense and Journey Into Mystery

were returned to the schedule in a different guise than Although Heck was a fine draftsman, particularly
their old blood-and-guts, pre-Code selves. Now they when inking his own pencils, it would be Ditko
featured a variety of fantasy and “mystery” stories of with whom Lee bonded on an aesthetic level,
aliens, ghosts and slightly sinister spirits all intent on even more than he had with Kirby. Ditko’s style
providing fit endings to a bevy of deserving misfits. was far more moody and atmospheric than
Headlining each book, however, was something Kirby’s and tended to emphasize the psychological
wonderfully different. Jumping onto the giant monster motivations of his characters rather than what
craze that dominated Hollywood in the 1950s, Lee they actually did within a story. For that reason,
instituted a series of wild and crazy monster stories Lee was attracted to Ditko and paired with him
with creatures sporting names far more outlandish than on assignments in these early years much more
their grotesque appearances: than he did with Kirby. For
Mummex, Bruttu, Spragg, and instance, whereas he scripted
of course, Fin Fang Foom. almost all of Ditko’s assign-
That’s where Kirby came in. ments, even signing both
With declining fortunes their names on splash
having placed him at Lee’s pages, Lee more often than
disposal, Kirby was offered not confined himself to
all the work he could handle throwing out plot ideas and
and soon had the lead spot in delegating scripting chores
all the mystery titles. But for Kirby’s tales to his
even with his legendary brother Larry Lieber. Lee
speed at the drawing table, even created a whole new
Kirby was barely able to keep mystery title, Amazing Adult
up with the workload and his Fantasy, dedicated solely to
art suffered, losing some of he and Ditko’s collaborations.
its polish but none of its Thus, by the time Goodman
dynamism. Even so, finding was prepared to reenter the
it difficult to turn down work, lists in the super-hero arena,
Kirby also became the major Lee’s working relationship
artist on westerns such as with Ditko had already
Two-Gun Kid and Rawhide Kid, developed to the point of
often did back-up strips in true collaboration, while
Gunsmoke Western, Kid Colt only the foundation of the
Outlaw, the occasional war After Joe Simon, there was Stan Lee. same kind of arrangement
story in books such as Battle, All grown up and now editor in chief was in place between he and
and at least once even filled in of what would soon become Marvel Kirby, a pair of circumstances
on Love Romances. Comics, Lee partnered with Kirby in the
that would prove both
late ‘50s on a string of monster,
But even with Kirby doing western, and war stories that led up rewarding and contentious
so much on so few books, he to the debut of the Fantastic Four. as the Marvel Age of comics
still couldn’t do it all. The progressed.
shake-up at Marvel had left
the company with only a handful of artists such as Paul Fantastic Four #1
Reinman, Al Hartley and Joe Sinnott, but just as a “The Fantastic Four!”; Stan Lee (script), Jack Kirby
prospector might sift through soil to find gold dust, the (pencils), George Klein (inks)
shaking out of Lee’s staff still left him with a couple of “The Fantastic Four Meet the Mole Man!”; Stan Lee
(script), Jack Kirby (pencils), George Klein (inks)
sizeable nuggets in artists Steve Ditko and Don Heck. Cover: Jack Kirby (pencils), George Klein (inks)
While Heck had been a standby at the company for
years, producing everything from war and crime to What is there left to say about Fantastic Four #1 (Nov.
mystery and romance, Ditko was a relative newcomer 1961) that hasn’t been said before? Here’s the book that
who began working for Marvel intermittently in the neatly divides the history of comics into two eras:
mid-1950s. Like Kirby, the two artists seemed to everything that came before and the progeny of the
become indispensable to Lee as they quickly took their Fantastic Four that came after. It was this book that
places in the various mystery titles with Heck usually rewrote the rules on comics and, in order to survive, all
taking the second slot and Ditko bringing up the rear. others eventually had to follow its lead. Right from the

start, its approach to the super-hero was radically dif- giant monsters? It’s hard to believe that with the more
ferent from what had become standard operating pro- professional looking product the competition at DC
cedure for costumed characters since the creation of was putting out, with its huge staff of better paid
Superman in 1938: the heroes didn’t live in a Batcave or professional editors, writers and artists, that the
come equipped with specialized gadgets, they didn’t crudely produced Fantastic Four book could possibly
have secret identities or a headquarters, hidden or have a chance of being noticed by discriminating
otherwise. They didn’t sport colorful costumes, and readers. Matters certainly weren’t helped by the book’s
they spent a lot of time bickering among themselves artwork, which was done by longtime professional
and dealing with the unexpected personal tragedies Jack Kirby, who had a track record for almost always
brought on by the possession of strange powers. Being producing top quality work. But for the first few issues
a super-hero in something that resembled the real of the FF, in contrast with his concurrent work on
world, it seemed, wasn’t what it was cracked up to Marvel’s westerns and monster books, it seemed as if
be. But is it safe to assume that readers at the time the artist was on auto-pilot. Which was strange for
recognized just how different the FF was compared to, Kirby, who’d been in comics almost since the industry
say, their contemporaries at DC? Or were the first began in the mid-to-late 1930s. Early in his career,
buyers simply interested in the big, green monster on Kirby had been in on the creation of Captain America
the cover, a monster much like those in other titles
Marvel, or rather Atlas, was putting out at the time? Notice the lack of detail and backgrounds as
Was it that, or the book’s familiar plot: a brilliant well as the simple layout of this page from
scientist and his friends rocket into space, are bathed in Fantastic Four #1 and the more labor
intensive art in the page from Rawhide Kid
cosmic rays, return to earth only to discover that
#17. Did Kirby have more faith in westerns
they’ve been given strange powers, and fall immedi- than he did in the idea of costume-less
ately into battle with the Mole Man and his legions of super-heroes?

Jack Kirby
W hen Jack “King” Kirby, nee Jacob Kurtzberg, came into the
world in 1917, it was rumored that he entered it with a pencil
in his hand, and though that may not have been true, he
probably started drawing very soon after that. Graduating from
scrawling on the walls of the tenement where his family lived,
Jack started drawing for a local boys’ club before finding
employment doing fill-in cartoons for newspapers and later,
animation work for the Fleischer Studios. Getting tired of the
repetitious in-between work, the young
artist discovered the comics industry and
joined the Eisner & Iger shop (where he
became Jack Kirby). It was around 1940
while working at Fox Features Syndicate
that Jack met Joe Simon. The two soon
formed a partnership and secured a
lucrative deal with Timely publisher
Martin Goodman. With Simon as editor
and Jack working as art director, the two
thrust their most famous creation into the
world with Captain America Comics #1
(1941). A dispute over compensation forced
the two to leave Timely for DC where Jack
was instrumental in creating such popular
features as “Boy Commandos” and
“Manhunter.” Then the Army called, and
Jack found himself in the infantry where
he almost lost his legs from frostbite.
Following the war, he rejoined Simon and
pioneered horror and romance comics as
well as other super-hero features until the
two mutually agreed to end the partnership.
But by the late 1950s, it seemed as if
comics had run their course. Jobs were
harder to find and after returning to DC
and an abortive attempt to break out into
the world of newspaper strips, Jack found
himself back at Timely, now renamed Atlas and later Marvel.
There, instead of becoming a footnote in the history of a dying
industry, he ended up in another partnership that was destined to
achieve iconic status and make the name of Jack Kirby synony-
mous with pop art and unrestrained excitement.

(who would prove to be one of Marvel’s most popu- Fantastic Four #2

lar characters), and since then, had bounced from one “The Fantastic Four Meet the Skrulls from Outer
company to another, always turning in solid work Space!”; Stan Lee (script), Jack Kirby (pencils),
while at the same time earning a reputation as the George Klein (inks)
industry’s most dynamic storyteller. Just about his last Cover: Jack Kirby (pencils), George Klein (inks)
stand before returning to Marvel in the late fifties was In an early example of how close to the surface
made at DC where he created the Challengers of the public fear and resentment of super-heroes would be
Unknown, a strip with vague similarities to the FF. in the emerging Marvel universe, Fantastic Four #2
Writer Stan Lee, on the other hand, entered the opens with what appears to be members of the FF
industry through privilege. Related to Marvel’s involved in villainous activity: the Thing sinks an
publisher Martin Goodman, he began his career at the offshore oil drilling platform, the Invisible Girl steals
company as a writer/office boy when Kirby (and his an expensive gem, Mr. Fantastic cuts power to New
partner Joe Simon) were York City and the Torch
associate editors there in melts down a statue just
the early forties. After as it’s being dedicated. In
Simon and Kirby left, no time the confidence of
Lee’s star began to rise the public won in issue #1
until not only did he is gone and the FF “have
become editor himself, become the most danger-
but was responsible for ous menace we have ever
writing a great many of faced!” The readiness of
the company’s books. By the fickle public to go
the time the sixties rolled from outright adoration
around, Lee was ready to of the celebrity-like FF to
quit. The comics portion fear and resentment
of the company was at its would be repeated often,
lowest ebb, headquartered albeit usually with the
in a tiny office with barely heroes being set-up by a
room enough to fit both Early inkers on Kirby for the FF, George Klein villain such as they are
Lee and his secretary. (left) would later enjoy great success inking here by the Skrulls, alien
Clearly, after 25 years, over Gene Colan on Daredevil and John
shapeshifters bent on
Buscema on the Avengers while sol Brodsky
comics, for Marvel at least, (right) would drift more into the production conquering the Earth. But
were on the way out, and side of the business. the point wasn’t that they
Lee had nothing to lose in were being framed, rather
taking a chance or two. that it was so easy to turn
Claiming in later years that the FF was Marvel’s the public against them. Time and again, especially in
attempt to cash in on the latest comic book fad (rival these early, formative years, the public would be
DC had been having some success with a new super- swayed by a parade of rabble rousers who, seemingly
hero team book called the Justice League of America), Lee more sensitive to the insecurities of the ordinary
decided to use the new title to break some of the old citizen than the heroes, would have little trouble
rules that had built up around the hoary concept of the making life miserable for the good guys. And the FF
super-hero and try a new approach that he’d had in would be easy targets. Throughout the coming
mind for a long time. With the debut of the Fantastic years, whenever the team would leave its midtown
Four in 1961, readers somehow saw through the story’s skyscraper headquarters, or its emergency flare
standard plot, recognized its unconventional elements, appeared in the sky, or real estate was destroyed in a
and gave Lee the chance he needed. At first unsure battle, passersby in the street would point and
(except for this vague notion of unconventionality), wonder on how many zoning codes the team were
Lee would eventually become more conscious of the breaking by launching their pogo plane, jet cycles,
larger potentialities of the new direction and, over Fantasticar or even ICBM (!) from their building?
time, the Fantastic Four would become he and Kirby’s And though over the years this theme of just below
main vehicle for some of the most amazing advances the surface public hostility became less obvious, it
(and adventures!) in comic book storytelling as well as would always be there, prompting some heroes like
the spearhead that would drive Marvel to the forefront Spider-Man or the Thing in this issue, to lose their
of an emerging sixties’ pop culture movement. tempers. “...The whole country is hunting us as though

we’re four monsters! Well, maybe they’re right! What’s wrong with us?” But whatever was wrong
Maybe I am a monster! I look like one and sometimes with the team, was obviously right with the book’s
I feel like one!” It was a feeling of alienation and apart- readers who continued to demand more of the same.
ness that all the heroes would be made to feel as edi- After all, next to the heroes being at each other’s
tor Stan Lee continued to shape his four-color universe, throats half the time, this issue’s fight with the Miracle
a feeling shared in some inchoate way by his young Man and another giant monster looked pretty
readers who, in a few short years, would populate uninteresting! In fact, this issue ends the way it began,
America’s college campuses in the most socially (“Oh, please! Don’t start arguing among yourselves
tumultuous decade in the nation’s history. Fun fact: again!! I…I just can’t stand any more!” complains
This issue features one of the most offbeat endings of Sue). In frustration and anger (“I had all the bossin’
any Marvel story as Mr. Fantastic hypnotizes the around I can take!”), the Torch quits the team and flies
defeated Skrulls into believing they’re cows! It’s true! off leaving the others wondering if he might turn
The last we see of them, they’re grazing contentedly in against mankind. This wasn’t your father’s super-
a pasture and the FF are cleared of any wrongdoing. hero team! Fun fact: This issue also featured the strip’s
first letters page including one signed “S. Brodsky”
Fantastic Four #3 (Marvel’s production manager Sol Brodsky?) which
“The Menace of the Miracle Man”; Stan Lee (script), managed very suspiciously to get the title of every
Jack Kirby (pencils), Sol Brodsky (inks) comic Marvel published listed in his letter!
Cover: Jack Kirby (pencils), Sol Brodsky (inks)
After marking time with FF #2 (and receiving the
first trickle of what soon would become a flood of
mail), the decision was made to concede some
elements of the new book to conventionality. And so,
in Fantastic Four #3 (Mar. 1962) the heroes were given
not colorful costumes, but featureless uniforms; a
bathtub shaped flying vehicle, not a souped up
Batmobile, and for a headquarters, instead of a hidden
cave or secret satellite, the FF were given a very
public suite in the upper floors of the Baxter
Building, a skyscraper at the center of New York
City! What’s more, although Kirby had at first
submitted completed pages with Mr. Fantastic and
Invisible Girl sporting domino masks, Lee had them
removed. The FF were to be public celebrities whose
exploits and private affairs would be the subject of
newspaper tabloids and gossip magazines. And
they’d give plenty for the paparazzi to cover since no
such dramatic changes as costumes and headquarters
were made to the personalities of the four themselves.
Part of the rage Ben Grimm felt over the bad luck
that had changed him into the Thing was born of the
frustration at not being able to compete with Reed
Richards for the affections of teammate Sue Storm.
© 2009 DC Comics.
“I want Sue to look at me the way she looks at you,”

he tells Reed, raising an angry fist. Meanwhile,
Johnny is still the hotheaded teenager, thoughtless
and cruel as so many young people can be. “My sister??
Don’t kid yourself, Thing! She wouldn’t go for you if
you looked like Rock Hudson!!” “Why you crummy Challengers of the Unknown #1. Kirby’s only
brat! I’ll teach you to laugh at me!” “Why can’t you major late ’50s contribution to DC prior to his
control yourself, Thing?” asks Reed, unconscious of falling out with Jack Schiff, the interchange-
his own callousness when he refers to his friend as a able Challengers may have been an influence on
the Fantastic Four but if so, it sure wasn’t
thing rather than calling him by his rightful name. their sparkling personalities!
“Why must we always fight among ourselves?


true super-villain and the first in a long line of bad

Fantastic Four #3, page 14 (opposite page). The guys whose personalities would be given enough
FF give in to conventionality donning uniforms
and getting around in a Fantasticar. But in keep-
wrinkles to prevent readers from completely hating
ing with their status as celebrities, a batcave them, if not sometimes sympathizing with them.
and fortress of solitude were spurned in favor With Sub-Mariner being the first, he also served as
of a high profile skyscraper headquarters in the template: wishing only to return to his undersea
midtown Manhattan! people, he discovers that Atlantis is long deserted,
destroyed in fact, and permeated with radioactivity.
Fantastic Four #4 Blaming the surface people, Sub-Mariner vows
“The Coming of... Sub-Mariner!”; Stan Lee (script), revenge. “You young fool!” he shouts at the Torch.
Jack Kirby (pencils), Sol Brodsky (inks) “For…returning my memory, you have signed the
Cover: Jack Kirby (pencils), Sol Brodsky (Inks) death warrant of the human race!” Swallowing his
The drama continued in Fantastic Four #4 (May 1962) pride, the Torch signals for his former teammates, and
as the three members of the team that remained when they arrive the first thing they do is criticize him
following the events of the previous issue argue for using the signal when there wasn’t an emergency.
among themselves about who was to blame for the But of course, there is, and together again, the four
Torch having quit the team. “It’s your fault that he stop the Sub-Mariner’s initial attempt to destroy
ran off,” Reed tells the Thing, pointing an accusing mankind. An unintended side-effect of this encounter
finger in his direction. “Sure! Sure! Everything creates a new wrinkle in the Reed/Ben/Sue triangle
around here is my fault!” Despite their differences when the Sub-Mariner asks the Invisible Girl to marry
however, they decide to find the Torch and bring him him! Sue agrees under duress, but Namor refuses to
back. “…And when I do find ’im, I’ll teach him to run have her if she thinks she’s being forced. “I’ll be back!
off on us that way!” growls the Thing, breaking up Do you hear? I’ll be back!” he swears, returning to
some furniture. “Oh, Reed! If he harms the Torch…,” the sea, defeated but not vanquished. Namor would
says Sue; and this early in the run, what reader return again and again in future issues (helping to
wouldn’t have doubted that the Thing, now drawn create the sense of continuity and realism that was to
by Kirby as a bulky creature with the roughened hide become one of the main reasons drawing readers to
of a dinosaur, was capable of doing such a thing? Marvel like a magnet) until the rivalry between he and
After an early brush with the Torch, the four lose his Mr. Fantastic over the Invisible Girl was at last settled
trail again, and when readers spot him next, Johnny in FF #27. Fun Fact: Was it mere coincidence that in
is hiding out in New York’s Bowery district. There he Fantastic Four #4 the Golden Age derived Human
finds a bed in a flop house and a bedraggled, bearded Torch character revives the Golden Age Sub-Mariner
“stumble-bum” catches his attention when he and in Avengers #4 Subby returns the favor by reviving
effortlessly disposes of half a dozen tormentors. Golden Age contemporary Captain America? You be
Using his flame, Johnny gives him a shave and hair- the judge!
cut and readers are given
their first glimpse of a Incredible Hulk #1
character that hadn’t “The Hulk”; Stan Lee
(script), Jack Kirby
been seen in comics in a (pencils), Paul Reinman
decade. Prince Namor, (inks)
the Sub-Mariner was Cover: Jack Kirby
Marvel’s first revival of (pencils), George Roussos
a character from the (inks)
company’s “Golden Age”
Six months after the
of the 1940s (well, okay,
debut of the FF, Lee
the second revival; Subby
decided to expand the
had been brought back
arena for his new ideas
from the dead once
with a whole new title
before in the early 1950s,
while at the same time
but had failed to fly). This
staying within the familiar
time however, the Sub-
In the early years, both Paul Reinman (left) genre of the monster
Mariner would achieve and George Roussos (right) switch hit as yarn. In the meantime, he
greater popularity as the inkers over Kirby’s pencils. had both compromised
Fantastic Four ’s first
and forged ahead with his more possess super powers in the real world. Helping greatly was Kirby’s
realistic heroes. The FF had since chunky, monster style art for the book, which was much smoother and
donned costumes, received a head- more energetic here than it was over on the FF. But maybe readers
quarters and got some gadgets, but weren’t quite ready for comics’ “first existential hero.” The blurred line
with a twist. The costumes were between hero and villain as the main focus for an entire strip didn’t catch
strictly functional jumpsuits of the on with them and the Hulk strip was canceled with its sixth issue. The
type worn by aircraft workers with readership, it seemed, needed to be educated in a few more years of the
no masks, their headquarters was emerging Marvel style before it could learn to accept ol’ Greenskin.
located on the top floors of a
midtown skyscraper in New York
City and their gadgets included a
flying bathtub. Despite the fans’
desires for some of the conventions
of the super-hero
genre, Lee persisted
in keeping his
heroes in the real
world. That real
world infringed
painfully on the life
of Bruce Banner
who became one of
the truly tragic
characters ever cre-
ated for comics. In
Incredible Hulk #1 (May 1962),
teenager Rick Jones parks his car
on a bet at a nuclear test site
somewhere out west just as Bruce
Banner’s new gamma bomb is
about to be tested. Rushing onto
the field to rescue the boy, Banner
is himself caught in the blast and
as a result, transforms into the
Hulk, an almost mindless brute of
incredible strength who becomes a
virtual walking id and for whom
to think is to act. When angered,
the Hulk would lash out; when
hungry, he would take what he
needed. As a reader once pointed
out, the Hulk was the true existen-
tial man! At first Banner would
change into the Hulk with the rise
of the moon, but that idea was

quickly abandoned. Instead, relying
on the emotional level of either
identity to trigger the change, Lee
had created a situation more in
keeping with the Hulk’s primal
nature. With the creation of the
Hulk, Lee had come up with the
perfect vehicle for exploring the Incredible Hulk #1, page 6. Comics “first existential hero” was
also one of Marvel’s most tragic.
notion of what it would be like to

Fantastic Four #5
“Prisoners of Doctor Doom!”; Stan Lee (script), Jack
Kirby (pencils), Joe Sinnott (inks)
Cover: Jack Kirby (pencils), Joe Sinnott (inks)
Blurring the line between hero and villain was
becoming an increasingly important point of
exploration for Lee and Kirby. It began as early as
the introduction of the Mole Man in FF #1, continued
with the reintroduction
to the comics world of
the Sub-Mariner in FF #4
and eventually reached
its grandiose culmination
in the introduction of Dr.
Doom in Fantastic Four
#5 (July 1962). To be sure,
in this first appearance Steve Ditko came into his own as a creative
Doom’s motivations were force during Marvel’s early years, rivaling
not explained, but the though not duplicating Kirby’s own inventive
reader is told through genius. The two men would take up opposite
poles in their definition of the hero: Kirby’s
the voice of Reed Richards
were strong and god-like while Ditko’s were
of a young science student troubled with feet of clay. Lee became the
named Victor von Doom balance between the two preventing Marvel’s
who combined scientific heroes from becoming too remote or esoteric.
knowledge with black Like Reinman and
Roussos, Joe
magic. It was a lab Sinnott was also
accident involving the an early inker
Incredible Hulk #2
two that left Doom’s face on Kirby, but
“The Terror of the Toad Men”; unknown (script),
horribly disfigured. unlike the others, Jack Kirby (pencils), Steve Ditko (inks)
he would return on Cover: Jack Kirby (pencils), Steve Ditko (inks)
Going into self-exile, he
a permanent basis Teasers that had scrawled at the bottom of pages in
was last known to be
in the grandiose
wandering the Far East years.
issues of the Fantastic Four were all the warning
in search of still more readers and the world had of the coming of the second
dark secrets. From this of Marvel’s revolutionary new line of super-heroes.
sketchy origin, the story of Dr. Doom would grow, “The Hulk is coming!”, “What is the Hulk?”, “You’ve
(with a full-length origin story appearing in FF never seen anyone like the Hulk!”, “The Hulk is
Annual #2), until the readers, while continuing to coming!”, “Who is the Hulk??”, they screamed. Less a
loathe his objectives, sympathized with him as a super-hero however, than the continuation of the
tragic figure burdened with understandable monster stories Lee had been featuring in titles such as
melancholies. With genius to rival that of Mr. Tales to Astonish, Tales of Suspense and Strange Tales,
Fantastic but without a similar sense of morality, the Hulk was destined to be a rampaging behemoth
Doom easily became the most dangerous man in suffering the agonizing changes, both physical and
the growing Marvel universe. Unfettered by emotional, thrust upon him by an act of fate. Perhaps
notions of right and wrong and bounded only by inspired by the resurgent popularity at the time of
his own desires, Doom became the personification of Universal Studios’ monster movies (which included
ruthlessness. Through him, the reader could perhaps Frankenstein), the Hulk would nevertheless blaze his
glimpse the internal forces that had moved men of own trail of individuality, tapping into a popular
such historical villainy as Hitler and Stalin. Later, understanding of psychology that had been equally
with his personality more clearly defined, Lee and before the public eye at least since the 1950s. Thus,
Kirby would play Doom like a harp, giving readers when Bruce Banner transformed into the Hulk, he
private moments showing the villain’s finer sensibili- became an almost mindless brute of incredible
ties and then veering him off into brutal villainy. In strength, a virtual walking Id. With the Hulk, thought
the blurred line between hero and bad guy, Doom is synonymous with action: when he’s hungry he eats;
was easily Marvel’s most complex creation. when angry, he lashes out; what he wants, he takes.
To make matters worse, when powers in the real world and

he turns into the Hulk, Banner took a giant step forward in
also becomes a truly amoral turning their stable of super-
creature: whatever satisfies the heroes from colorful but empty
Hulk’s whims may be classified suits to metaphors for the
as good, whatever keeps the modern world’s anxieties and
Hulk from satisfying those passions. Fun Fact: Although
whims is bad. Paradoxically the Hulk’s skin color had been
however, the Hulk himself does gray in Incredible Hulk #1, it was
nothing out of vindictiveness or changed to green for this issue
spite. If he reacts, it’s almost (and forever afterward). In reply
always because he has perceived to a fan’s letter in #4, it was
himself to have been slighted, learned that the gray coloring
wronged, victimized. In later was made in error. Thus are
appearances, Lee would give the legends born!
Hulk what psychologists would
call a persecution complex: the Amazing Fantasy #15
whole world was against him, “Spider-Man”; Stan Lee (script),
everyone hated him, all of Steve Ditko (pencils & inks)
mankind never ceased to hound Cover: Jack Kirby (pencils), Steve
Ditko (inks)
him. And to prevent the Hulk
strip from becoming just another A revival of Universal Studios’ Virtually in the same month as
monster story (the word “hulk” classic monsters during the 1950s FF #12, Marvel introduced a
included Boris Karloff as
had often been used as a name new character that was destined
Frankenstein.
for some of the goofy monsters to eclipse even the ground-
that roamed the Marvel land- breaking Fantastic Four in
scape prior to the advent of the super-heroes), Lee importance and popularity. As the story goes,
provided his leading man with a cast of supporting Amazing Fantasy was a book on the verge of cancella-
players including Rick Jones, the teenager whom tion and with nothing to lose, Lee decided to throw in
Banner rescued from the blast that had turned him an idea for a character he’d had kicking around in
into the Hulk. Jones would become Banner’s constant his head for a while. Whether or not that’s how it
companion and conscience in his early adventures, happened, or if Lee had more input from others than
helping him keep his secret from the likes of General he let on, Spider-Man would be the culmination of all
“Thunderbolt” Ross. Ross was the commander of the the non-traditional super-hero ideas Lee had been
military base upon which the gamma bomb test had thinking about for the past year or so. In him, Lee
been conducted and held a healthy suspicion of would present a character even closer to reality than
Banner’s loyalty to the United States. Ironically, his either the FF or the Hulk, who were still too far
daughter, Betty Ross, would become enamored of removed from everyday life for readers to really
Banner and evolve into his chief defender. Helping identify with. With Spider-Man, Lee would finally
Lee to bring the Hulk to life was artist Jack Kirby break all the barriers. He’d make him an unpopular
who at first drew the Hulk as merely an over-sized, teenager, a science wiz in high school whose interest
muscle-bound man (who wasn’t all that bad looking in his studies alienated him from his classmates; an
besides!). Eventually, the artist would grant him the orphan being raised by a loving but too doting aunt;
stoop-shouldered posture and brutish, lowering he’d have girl problems, money problems and even
brows that would justify the instinctive fear he identity problems. Nothing would come easy for him
aroused in everyone who met him (helped greatly this and in fact, later issues of the regular Spider-Man title
issue with inking by an uncredited Steve Ditko!). A life would usually conclude with a panel summarizing
of idle observance was not for an existentialist Hulk all of the character’s myriad problems. As a hero,
to whom the immediacy of action was far more Spider-Man would have to wash and sew his own
meaningful and past and future meant nothing. Only costume, pay for his own transportation to where the
the urgency of the needs and desires of the present villains were, endure scathing attacks by the media
were important. With the creation of the Hulk, Lee and the fear and distrust of the public in general and
and Kirby had come up with the perfect vehicle for his fellow super-heroes in particular. All of it began in
showing what it actually would be like to have super Amazing Fantasy #15 (Aug. 1962) with art by Steve

Steve Ditko
U nlike Stan Lee and Jack Kirby, his peers at Marvel Comics,
Steve Ditko didn’t enter the comics industry just as the art
form was finding its legs in the late 1930s and early 1940s.
Instead, the man whose very name would later become a
byword for mystery (for decades, an interest in Objectivism
would prevent him from commenting on his work), Steve was
among the first generation of fans to enter the professional ranks
of comics artists. As a child, born in 1927, Steve was attracted by
such newspaper comic strips as Prince
Valiant and The Spirit. In fact, it was an
early interest in the comic book Batman
that prompted Steve to enroll under the GI
Bill at the Cartoonists and Illustrators
School where Batman co-creator Jerry
Robinson was an instructor. Steve
graduated in 1953 with an art style
resembling not a little that of Robinson
and promptly found work in the comics
industry. There, his first job appeared in
Daring Love #1 (1953), and moving on, he
joined Crestwood Publications where he
worked for Jack Kirby, a man with whom
he would later join for the most important
phase in either man’s professional life. Just
then, however, Steve was still starting out
and discovering that Charlton Comics
could provide him with all the work he
wanted with little editorial interference,
he left Crestwood and entered upon an
association with Charlton that would
bookend his later career at Marvel. It was
while at Charlton that he first ventured
into the super-hero genre with an early
version of Captain Atom before picking up
extra work from Stan Lee at Atlas Comics.
By 1961, Lee was finding inspiration in
Steve’s style and soon began signing their names to their
collaborations. That same year, Lee renamed Amazing Adventures
as Amazing Adult Fantasy, a comic devoted solely to his and
Steve’s stories. It was in the final issue of that run that the two
introduced the character that would grant them both comic book
immortality.

Ditko, who was Kirby’s polar opposite, specializing in the common man by a radioactive spider, gains
and drawing the anguished faces of ordinary people undergoing the incredible arachnoid abilities and
full range of human emotion, a talent that would prove of crucial allows a crook to escape a pursuing
importance in conveying the realistic world of Peter Parker, Spider-Man’s security guard. It was this last
alter ego. Coupled with Lee’s flair for writing naturalistic dialogue, the incident that would provide the
story of Spider-Man’s origin is told neatly in eleven pages as Peter is bitten book with its motivating factor as
Peter arrives home one night to
discover how wrong he could be in
believing that stopping the escaping
crook was none of his business.
With his beloved Uncle Ben dead
at the burglar’s hands, Peter learns
that “…with great power, there
must also come…great responsi-
bility.” A lesson that has since
become one of the most hallowed
in comics. Fun Facts: This issue’s
cover was actually the second
drawn for the book; the first,
rendered by Ditko,
was rejected for
not being dynamic
enough and obscur-
ing too much of the
new hero’s costume
(in addition, could
Lee’s well known
dislike of showing
the underside of feet
have been another
reason?) and was
redrawn by Kirby. Also, according
to Ditko, Lee and publisher
Martin Goodman wanted to
drop any shots of the hero in
what was considered grotesque,
spider-like postures for fear the
book would be rejected by the
Comics Code Authority!
Journey Into Mystery #83

“The Stone Men from Saturn!”;
Stan Lee (plot), Larry Lieber
(script), Jack Kirby (pencils),

Joe Sinnott (inks)
Cover: Jack Kirby (pencils),
Joe Sinnott (inks)
With little warning, and only a
few months following the debut
of The Incredible Hulk, Lee launched
Amazing Spider-Man #1 (alternate cover). Ditko’s original cover the third in his fledgling line of
design that was rejected perhaps because it showed the underside of super-heroic characters. (Spider-
Spidey’s feet! On the other hand, maybe our hero looked too— Man would get his own title
well—spiderish to publisher Martin Goodman? some months later). One month,

Journey Into Mystery featured titles) each month. And so, when Lee launched the Fantastic Four and
giant monsters and weird stories, then the Hulk in their own magazines, room had to be found for them
and the next a Norse god (in pri- by discontinuing other books. Reluctant to cancel any more until he
mary colors yet!) doing battle was certain of the popularity of the new super-heroes, Goodman
with those selfsame monsters instructed Lee to feature any new heroes in pre-existing titles. And
and weird menaces! The character so, in the same month as Spider-Man’s first appearance in Amazing
became the first to be launched Adult Fantasy and just a month before Henry Pym became the Ant-Man
not in his own self-titled magazine,
but as the headliner in a pre-existing
book. How did it happen? It
seems the success of the Fantastic
Four and the Hulk (and no doubt
some prodding from publisher
Martin Goodman too!) had
inevitably begun to put pressure
on Lee to come up
with more new
features. But there
was a problem.
In 1957, Goodman
thought about get-
ting out of the comic
book business,
canceling titles and
selling off the Atlas
magazine distribu-
tion company he
owned. Almost immediately
however, he changed his mind
and, closing a distribution deal with
National Periodicals Publications
(DC), jumped back into the
business. The only difference
now was that he’d be limited to
just eight titles (or 16 bi-monthly
Journey Into Mystery #83, pg 1 (above); Weird Comics #1 (left).

The notion of making a comic book character out of a Norse god
wasn’t a completely new one when Marvel introduced the Mighty
Thor in 1962, but in the years to come the character would evolve
in ways his creators could scarcely have imagined.

in Tales to Astonish and the overconfident (“I have

Human Torch graduated proven that the hammer
to his own feature in and the might of the
Strange Tales, Lee intro- thunder-god are invincible!
duced Thor in Journey Nothing can conquer
Into Mystery #83 (Aug. Thor! Nothing!”). It was
1962). Within another an inauspicious beginning
half-year, with Iron Man’s plotted by Lee, scripted
appearance in Tales of by brother Larry Lieber
Suspense, all of Marvel’s and drawn (with increas-
weird menace titles ing care from the days of
would feature each their FF #1) by Kirby. By the
own super-hero character time Marvel entered its
and about twelve months more serious, grandiose
after that, with the trend phase, Thor put on more
of the future made clear, weight and became the
Not as well known as fellow bullpenners
the days of the compa- feature that most captured
Jack Kirby and Steve Ditko, Larry Leiber (left)
ny’s surviving westerns and Dick Ayers (right) were nevertheless the full flowering of the
and teen humor titles indispensable in Marvel’s early years. Leiber company’s pretentious
were numbered. In the would write many of the first scripts for cosmic sensibilities. Fun
meantime however, the the company’s most important characters, while Facts: Like the more well
transition from pure Ayers was Kirby’s most effective inker. As known admonition from
Lee took over scripting for all the super-hero
weird fantasy to the features, the two men would be left to produce
the Spider-Man title that
somewhat more down to the company’s increasingly anachronistic west- “with great power, comes
earth adventures of the ern line of comics practically all by themselves. great responsibility,” a
super-heroes would be similar sentiment was
eased a bit by the con- engraved on Thor ’s
tinuing appearance of monsters and aliens as the hammer: “Whosoever holds this hammer, if he be
adversaries in many of the stories. “Thor” wasn’t worthy, shall possess the power of...Thor!” The theme
any different. Debuting on the cover as a somewhat of power and responsibility was to be revisited
skinny god of thunder, he was seen warding off often by Lee. Also, the name Thor is misspelled in
craggy alien invaders with wide swings of his the final panel of this story, appearing in print as
hammer. It turned out that the stone men from the consonant heavy “Thorr!”
Saturn, under the impression that Earth would be
easy pickings, had decided to take over the planet. Incredible Hulk #3
It was only their bad luck to choose a time and “Banished to Outer Space”; Stan Lee (script),
place where lame Dr. Donald Blake happened to be Jack Kirby (pencils), Dick Ayers (inks)
vacationing. After landing somewhere in Norway “The Origin of the Hulk!”; Stan Lee (script),
Jack Kirby (pencils), Dick Ayers (inks)
and taking a full story page to demonstrate to “The Ringmaster”; Stan Lee (script),
themselves their clear superiority to human beings, Jack Kirby (pencils), Dick Ayers (inks)
the aliens manage to scare off Blake who had been Cover: Jack Kirby (pencils), Dick Ayers (inks)
spying on them from behind some rocks. After
fleeing in a blind panic, the limping Blake takes “He can fly!!” screamed an obviously hysterical
shelter in a nearby cave where he discovers a soldier on the cover of Incredible Hulk #3, but it
gnarled walking stick hidden in a secret chamber. wasn’t far from the truth: with the strongest leg
Unbeknownst to him, he has discovered the most muscles on Earth, the Hulk could propel himself
awesome weapon of all time, the magical hammer from a standing start and leap hundreds of miles at
of the Norse god Thor! Striking the stick to the a time making it appear as if he were flying. Of
ground, the lame doctor is instantly surrounded by course it was absurd, but it was useful in getting
a nimbus of energy and is transformed into the the otherwise lumbering creature from one adventure
mighty Thor. In quick order, he learns how to use to another and back in time for Rick Jones to tuck
his new-found power, defeats the stone men him in to a specially prepared rock-lined chamber
(“Back! Back to the ships!! We must flee this when he returned to his secret hideout. Which is
accursed planet!!”) and becomes dangerously where the action picks up on the splash page of

this issue’s opening story, “Banished to Outer become totally subservient to Rick. But as it
Space.” The chamber was prepared by Bruce would so often become at Marvel, things weren’t
Banner in one of his more lucid moments and as easy as they seemed. Rick could now control
meant to contain the Hulk until the monster’s rage the Hulk, but as soon as he wasn’t paying attention,
subsided and he became human again with the the creature would go on a rampage! “It’s too
coming of dawn. Responsibility for Banner when much for me! I’ve got the most powerful thing in
he transformed into the Hulk continued to rest on the world under my control, and I don’t know
the thin shoulders of teenager Rick Jones, the only what to do with it!” Poor Rick! He was worse off
person who knew that the scientist and the monster than he was before, because now, he didn’t even
were one and the same. The arrangement was dare to sleep! Unlike fellow teenagers Spider-Man
another example of Marvel’s willingness to upset and the Human Torch, Rick Jones didn’t have any
the traditional comic book applecart in that it super powers, which placed him much closer in
increased the role of young people from supporting spirit to the typical reader. What would they do
characters in the shadow of adult, mentor-like under similar circumstances? In a decade where
figures, to decision-makers themselves. In the young people were destined to take leading roles
case of the relationship between Rick and the in an emerging social revolution, the example of
Hulk, when Banner became the green-skinned Rick Jones seemed to say that they were up to it.
monster, Rick was clearly the one in charge. Being Fun fact: Did you know that an earlier version of
the only person who could control the Hulk’s the Ringmaster and his Circus of Crime featured
rage even slightly, it became his responsibility to in this issue’s concluding story appeared during
protect the world from the creature’s devastation, Marvel’s Golden Age of the 1940s?
an authority willingly given over by Banner. But
even Rick’s control over the Hulk was iffy, as Tales to Astonish #35
shown in this story when he allows himself to be “The Return of the Ant-Man”; Stan Lee (script),
convinced by the military that only the Hulk Larry Lieber (script), Jack Kirby (pencils),
could survive a ride on an experimental missile. Dick Ayers (inks)
Cover: Jack Kirby (pencils), Dick Ayers (inks)
Releasing the beast from his rock-lined chamber,
Rick’s life is in immediate danger as he leads the On the heels of the mighty Thor came a second solo
Hulk to the nearby rocket base. “I couldn’t character, this time appearing in Tales to Astonish #35
explain to them that I can’t control the Hulk...If (Sept. 1962). But the true origin of the astonishing
he gets me, I’m a goner!” Later, after the missile is Ant-Man was even more curious than the one told in
launched, Rick is plagued with doubt. “Did I do this issue. His story actually began a few months
the right thing? What if earlier in Astonish #27
I’ve doomed Dr. Banner?” with a tale called “The
It used to be so easy for Man in the Ant Hill.” A
previous sidekicks, when simple fantasy story, one
all the decisions were of the hundreds that
left to their grown-up Marvel had been cranking
partners! Rick’s feelings out since the mid-1950s, it
of guilt were only made featured a scientist named
worse later, when he Henry Pym who discovers
discovers that it had all a fluid which, upon
been a trick. The sole evaporation, created a gas
intention of getting the that could shrink a man
Hulk onto the missile down to the size of an ant.
was to exile him into Of course, it happens to
space! The Hulk makes poor Henry who soon
it back however, more finds himself trapped in
filled with rage than the aforementioned ant
ever, but through a Henry Pym was preceded in his power to hill. At the end of the
strange accident, not shrink by Scott Carey, the protagonist of story, Pym decides that
only can he retain his Richard Matheson’s novel The Incredible his formula is too dan-
green-skinned form in Shrinking Man and later its film adaptation gerous and locks it away.
made in 1957.
daylight, but he’s also But readers thought

differently. Months later, when Lee human drama that readers were reacting so strongly to in the FF. It’s lack
was casting about for ideas to follow was probably the reason why the “Ant-Man” strip was doomed never to
up the success of the FF and pick up enough steam to be as successful as Marvel’s other features. Lee
“Thor,” fan mail received on the would take occasional stabs at it (like introducing the Wasp in #44 and
Henry Pym story convinced him turning Ant-Man into Giant-Man in #49), but eventually Henry Pym’s
that something might be done with solo career would come to an end in #70.
its size-changing hero. Thus was
born the Ant-Man, who was able
not only to shrink to the size of an
insect, but retain his normal full-size
strength at the same time (a nifty
idea that was often forgotten in
later stories). Kirby once again
stepped in to launch the strip,
designing a great costume for the
tiny adventurer based on the
stylized shape of a segmented ant
(the best thing about it though, was
the unique, insectoid shape of his
cybernetic helmet
with which Pym
communicated with
the ants). Ant-Man
had his baptism of
fire in a plot by Lee
that was scripted by
Larry Lieber. The
opening pages are
given over to Pym’s
decision to again
test his shrinking
formula and to design a uniform
that would protect him while on
field trips among the insects. But
just as he finishes, his laboratory is
taken over by evil communist
agents (sent by Kruschev himself!)
out to steal America’s anti-radiation
formula. Trapped in his office, Pym
has no choice but to don his Ant-
Man costume and go into action.
After showing the ants in a nearby © 2009 Marvel Characters, Inc.
nest who was boss, Ant-Man leads

them into the lab against the enemy
agents. In no time (don’t ask how!)
the ants have gummed up their
guns with honey and swarmed
over them in stinging masses. Then,
before the commies realize it, their Tales to Astonish #35, page 1. The man in the anthill returns but
captives are free and easily mop this time garbed in one of Kirby’s most impressive costume designs.
them up (mostly off-panel) with Dig the ant motif on the front of his uniform, the thick boots,
some good clean-cut American and that crazy mandible-ized helmet! Unfortunately, being the best
dressed hero in the Marvel stable didn’t guarantee success for the
violence! Like “Thor,” there was
Ant Man. More’s the pity.
nothing here to indicate the kind of

Strange Tales #101

“The Human Torch”; Stan Lee (plot), Larry Lieber
(script), Jack Kirby (pencils), Dick Ayers (inks)
“The Impossible Spaceship”; Stan Lee (plot),
Larry Lieber (script), Don Heck (pencils & inks)
“What is X-35?”; Stan Lee (script),
Steve Ditko (pencils & inks)
A month after Ant-Man’s debut in Astonish, the
Human Torch began a solo series in Strange Tales
© 2009 DC Comics.
#101 (Oct. 1962). Of all the members of the Fantastic
Four, why did Lee choose the Torch as the first to
star in his own feature? It was probably as simple as
the fact that another Human Torch had once been a
major star for the company in the 1940s and that Lee
hoped some of that name recognition would rub off Snapper Carr was Rick Jones’ teenaged coun-
terpart at DC’s Justice League of America. But
on this new version of the character. But the similarities whereas Snapper was never really developed,
between the original and the new Torch were a Rick was never treated with condescension and
good deal fewer than their differences. Whereas the from the beginning was an integral part first
original Torch had been an android, the current of the Hulk strip and later of the Avengers.
version was teenager Johnny Storm who, as readers
learned in this story, lived in a quiet, residential
suburb with his sister, the Invisible Girl. Lee and possible, for Rick Jones. Sure, as seen in the previous
Kirby waste little time in setting the scene as we issue, he’d gained complete control over the Hulk,
learn that although everyone in Glenville knows but as soon as he turned his back on him, the creature
Sue Storm is the Invisible Girl, none suspect that would run amok. What to do? Answer: place him
brother Johnny is the Human Torch. An editor’s under Bruce Banner’s gamma ray machine as he
note refers to an earlier scene in FF #4 where some does in Incredible Hulk #4 and see what happens! At
of Johnny’s friends know of his other identity but first, Rick had his doubts about using the machine;
they’ve since left town or have been sworn to secrecy! he was still only a high school student after all
So as long as no one in town checks out Life or Look (even though it seemed he never attended class!)
magazines, and don’t put two and two together, but was reassured when Banner’s personality
Johnny’s secret is safe. “The less publicity I have the fought its way to the surface of the Hulk’s clouded
better I like it! After all, I don’t get my kicks by mind to croak “Try...Rick...” And so he does with
being considered a flaming freak!” (Nevertheless, a the result that the Hulk is turned back to Banner.
later issue would reveal that no one in town was But the scientist isn’t satisfied. “There’s too much
fooled but, respecting Johnny’s privacy, never let to be done!” he says without going into detail, thus
on!) Next, readers were treated to a schematic of justifying a further experiment to preserve his
Johnny’s room (secret compartments, etc.) and learn mind when he turns into the Hulk. This next
that everything in the room is made of inflammable experiment works, but at the cost of creating an
asbestos. A quick run-through of the origin of the FF even more dangerous threat to the human race
follows and then the reader is plunged into a than the Hulk posed before: the creature possesses
scheme to blackmail a local amusement park owner Banner’s brain all right, but something has happened
by the Destroyer. A little five-page gem by Lee and to his personality. “Do you realize what I can
Ditko concludes the issue with the mystery of accomplish? With my brain and the Hulk’s
“What is X-35?” strength, I can do anything!” It was a situation that
wouldn’t last long (did Lee and Kirby have any
Incredible Hulk #4 idea where they were going with the strip?) but
“The Monster and the Machine”; Stan Lee (script), would leave behind a kind of split personality for
Jack Kirby (pencils), Dick Ayers (inks) the Hulk, one that would prove more lasting: in
“The Gladiator from Outer Space”; Stan Lee (script), the future, the Hulk would come to hate Banner as
Jack Kirby (pencils), Dick Ayers (inks) if he were a completely different person, glorying
Cover: Jack Kirby (pencils), Dick Ayers (inks) in his own physical strength while despising the
Things were going from bad to worse, if that was weakness of his alter ego.

Fantastic Four #9
“The End of the Fantastic Four!”; Stan Lee (script),
The story in Fantastic Four #9 (Dec. 1962) continued
to run counter to reader expectations with the
cover featuring a downcast FF being assaulted by
an angry mob even as they were evicted from their
Baxter Building headquarters. A sign with huge
lettering behind them reads “5 tower floors for
rent!” with windows in the building’s upper stories
broken or boarded up. It was not a situation
encountered by your typical super-hero and it was
for sure that the Justice League had never been
shown the exit of its secret cave headquarters or the
Challengers of the Unknown kicked out off of Doc Savage Magazine (Street and Smith, 1933);
Challengers Mountain! It seems that unlike his The Spider. Pulp magazine heroes with powers
counterparts at other comic companies, even Mr. greater than those of ordinary men often head-
lined their own titles and preceded the introduc-
Fantastic could make mistakes, having invested the tion of comics by many years. Frequently, they
group’s earnings in a shaky stock market whose were the direct inspiration for a number of
collapse places an army of bill collectors at the FF’s later super-heroes.
door. “Bulletin!” says a TV announcer (monitored
who knew how many fathoms beneath the sea by striking of all was the relationship between two of
the Sub-Mariner himself!). “The world famous his associates, Monk Mayfair and Ham Brooks.
Fantastic Four are bankrupt! They have announced Like the Torch and Thing feud in the FF, Monk
plans to dissolve their partnership and sell all and Ham bickered constantly until the rubber hit
their possessions in order to pay their debts!” the road and then they’d risk their lives for each
Soon, the four are seen hitchhiking along the other. No one should be surprised at the parallels
highway and eventually end up in H-wood to between Doc Savage and the FF as Lee and Kirby
break into the movie business. But they were had been avid readers of pulp fiction, as were
doomed to disappointment when it turns out to many other comics creators such as Jerry Siegel
have all been a set-up by the crafty Sub-Mariner. and Joe Shuster, the creators of Superman; hands
Be that as it may, the story served to place the down the most popular form of entertainment for
team’s skyscraper headquarters at center stage; but decades preceding the advent of television, heroes
the FF weren’t the first group to use the top floors of pulp magazines such as the Shadow, the Spider,
of a famous New York skyscraper as their base of and Buck Rogers were often household names in
operations. Decades before, another team of the pre-war years.
remarkable individuals did the same thing and
though their building was never named, descrip- Incredible Hulk #5
tions by author Lester Dent left little doubt that “Beauty and the Beast!”; Stan Lee (script),
Doc Savage and his Band of Iron occupied the top Jack Kirby (pencils), Dick Ayers (inks)
floor of the Empire State Building. It was not the “The Hordes of General Fang!”; Stan Lee (script), Jack
only similarity between Doc and the FF. “Doc Savage Kirby (pencils), Dick Ayers (inks)
and his oddly assorted team might be considered Cover: Jack Kirby (pencils), Dick Ayers (inks)
the progenitors of today’s Fantastic Four and The Hulk’s personality continued to deteriorate in
many other teams of super-heroes, even Sgt. Fury Incredible Hulk #5 as the two halves of Bruce
and His Howling Commandos,” Lee has said. Banner’s fractured psyche, rational ego versus
Indeed, the famous science-detective not only bestial id, placed Rick Jones in increasing peril of
headquartered at the top of a New York skyscraper, his life. In most ordinary people, the demands of
but also had a personal high-speed elevator leading the ego and the id are balanced by the influence of
directly to his personal suite, a hanger full of exotic the superego (at least according to the increasingly
vehicles and specialized aircraft, and like Reed doubtful theories of Sigmund Freud), but as a
Richards, funded his many enterprises with result of the accident in the previous issue, the gap
patents made from his own inventions. But most
between the halves of Banner’s and Kirby keep up the pace? How long could they keep such a radically
personality continued to widen anti-social character going before routine set in? Already, individual
with no counterbalancing force. story plots seemed to be getting repetitious (although the relation-
Now, the desires that once dictated ship between Rick Jones and Bruce Banner/Hulk continued to evolve
the Hulk’s impulsive nature were and remain interesting). As it turned out, the answer wouldn’t come
no longer random. With the for another two years, after the Hulk’s book was canceled and the charac-
addition of Banner ’s rational ter reappeared in a new series over in Tales to Astonish where Lee
mind to the Hulk’s brutal nature, would be partnered with an artist named Ditko!
those desires became fewer and
more ordered. But shorn of the
moral judgment that places a
rational mind to its best use,
Banner’s intelligence could not
rise above the Hulk’s primitive
urges for personal power and
control of his immediate environ-
ment. Sure, for now, such as in
the two stories this issue, the
Hulk chose to tackle threats to
the country (“The
Hordes of General
Fang!”) or to help
those he knows
(“Beauty and the
Beast!”), it seemed
only a matter of
time before he
turned his strength
loose for more
personal goals.
“Let her fear me!”
says the Hulk after rescuing Betty
Ross from the clutches of
Tyrannus (a subterranean
monarch served by hordes of
mole people who looked suspi-
ciously like those who also
served the Mole Man over in the
FF’s title...hmmm). “Let ‘em all
fear me! Maybe they got good
reason to! ‘Cause they’re only
humans, but I’m the Hulk!” And
with Rick losing what little influ-
ence he once had on the Hulk

and becoming increasingly the
target of his anger (“Shut up, you
puny fool!”) how long would it
be before the teenager was forced
to betray Banner to the authori-
ties for the good of the whole
human race? The Hulk now Incredible Hulk #5, page 8. The personification of Freud’s tripar-
seemed more savage, more bru- tite psychology, the Id and the Ego are sundered in a new Hulk
where the Banner persona is cut off and unable to exert any
tal than ever; not your average
influence on his raging other self.
comic book headliner. Could Lee

Fantastic Four #11 expected from comic book readers. Fans enjoyed the
“A Visit with the Fantastic Four”; Stan Lee (script), color and action of course, but suddenly they were just
Jack Kirby (pencils), Dick Ayers (inks) as interested in the characters, who they were, where
“The Impossible Man”; Stan Lee (script), they came from, what motivated them and in the case
Jack Kirby (pencils), Dick Ayers (inks) of the FF, this bickering, tragic and problem-laden
Cover: Jack Kirby (pencils), Al Hartley (inks)
group, what made them behave the way they did?
The FF continued to set the pace for Marvel’s new line Readers wanted to know more than how they received
of comics with Fantastic Four #11 (Feb. 1963) which led their powers, they wanted to understand the reasons
off, not with action or even with the posing of a weird for the things they did. The fact that Lee allowed a
problem such as the competition was wont to do (a non-action story to lead off what was supposed to be a
common practice at DC was to come up with the cover super-hero action-adventure comic was proof of the
first, usually presenting some wild premise such as strength of this new dimension in reader interest.
“The Three Wives of Superman!” then write a story to But although the story gave readers plenty of new
match!), but with an 11-page feature called “A Visit background information on the private lives of their
with the Fantastic Four.” The blurb at the top of the favorite heroes, it was given with the self-deprecating
splash page stated that it was “the type of story most and self-conscious humor that Lee would soon apply
requested by” readers’ cards and letters. If it was true, to Marvel’s entire line of comics. It opens with a splash
then the evidence was clear that Marvel had tapped page showing a line of customers of all ages spilling
into something altogether different in what was to be out the door of a neighborhood variety store, all there
for the arrival of the latest issue of the FF! Entering the
lobby of the Baxter Building, we meet the group’s
mailman Willy Lumpkin, and find out that access to
the four’s private elevator can be had only through the
use of a signal light from their belt buckles. In their
penthouse headquarters, the FF begin their daily
routine which starts with opening the fan mail. Later,
the Torch announces that he’s going to the garage to
work on his automobile and Mr. Fantastic tries once
again to change the Thing back to his normal human
form. The experiment a failure, the three remaining
members begin to reminisce and readers learn more
details about their lives before they gained their super
powers: Reed and Ben first met in college (Reed
attended on a science scholarship, Ben for sports) and
while Reed was well-to-do, Ben was “from the wrong
side of the tracks.” Later, the two entered the service
and fought in World War II, Reed in the O.S.S. (fans
had a chance to see him in action a few months later in
Sgt. Fury and his Howling Commandos #3!) and Ben as a
Marine fighter pilot. The relationship between Sue and
Reed is made more explicit when Reed says, “It’s
always been you, since we were kids together living
next door to each other!” So Ben’s crush on Sue
expressed in issue #3 may have only developed much
© 2009 DC Comics.
later, but even if that wrinkle had been resolved in

succeeding issues, “the shadow of the Sub-Mariner”
had since arisen to replace it. Returning to the mail,
Reed and Ben notice that one letter has upset Sue. It
turns out that fans have been writing in saying that she
Superman’s Girl Friend, Lois Lane #51. was useless to the team and should be dropped! Lee
It’s easy to see how a cover like this responds forcefully through an angry Reed Richards
could grab the attention of younger readers... who, pointing directly out of the panel toward the
before they wised up and graduated to Marvel
reader, says, “Lincoln’s mother was the most impor-
Comics!
tant person in the world to him! But, she didn’t help

him fight the civil war! She didn’t split rails for him! She didn’t battle with Fantastic Four #12
his enemies!” The story ends on a happy note as a surprise birthday party “The Incredible Hulk”; Stan Lee
is thrown for Sue (but with only one candle on the cake, readers were left (script), Jack Kirby (pencils),
in the dark as to just how old she really was!). The balance of the book was Dick Ayers (inks)
given over to the FF’s battle (if that’s what you could call it!) with the Cover: Jack Kirby (pencils),
Dick Ayers (inks)
Impossible Man, a story equal parts action and humor that demonstrated
the versatility of Marvel’s approach to the characters. Fun Fact: Did you Fantastic Four #12 (Mar. 1963)
know that the FF’s mailman, Willy Lumpkin, was the star of an aborted began what would later become a
comic strip Lee once tried to sell to a syndicate? Marvel staple: the in-house
crossover. Taking a leisurely pace,
the FF here meet the Hulk only on
page 17 of a 23-page story and,
unlike the gentlemanly encounters
between heroes at other companies,
end up fighting. Which was
standard practice at Marvel,
whose characters almost always
ended up fighting before getting
around to settling their differences
(and usually there weren’t any,
with fights often taking place
over a misunderstanding). But a
suspicious, devious and innately
selfish Hulk was always an
exception to the rule. Throw in a
Thing still filled with rage over the
accident that turned
him into a mis-
shapen brute, and
it’s easy to see that
there was little hope
for a reconciliation
between the heroes
by the end of this
story! Luckily for
this first big team-up
story, Kirby was
spending more time
on the art, perhaps as sales and his
interest in the strip grew, and Dick
Ayers, a man long experienced
with inking Kirby’s pencils, did
the finishes (for most comics, the
primary artist would first draw the
action in pencil with a secondary

artist, called an inker, tracing over
the finished work in black ink).
As for Lee, this issue demonstrates
his growing familiarity with the
dynamics between the group
members and their developing
Fantastic Four #12, page 16. There’s so much story going on over personalities. A fun scene involves
just this page that it makes you wonder what the first 15 were the Torch trying to impress Rick
about! And the action doesn’t even start until page 18!
Jones with his flame power not

realizing that Rick is the only Tales of Suspense #39

person on Earth privy to the “Iron Man Is Born”; Stan Lee (plot), Larry Lieber (script),
secret of the Hulk. “He wouldn’t Don Heck (pencils & inks)
be so swell-headed if he knew I Cover: Jack Kirby (pencils), Don Heck (inks)
was the Hulk’s partner!” thinks By the time Tales of Suspense #39 (March 1963) appeared, Lee had boiled down
Rick. This boastful aspect of the the general idea of heroes in the real world to heroes, more specifically, like
Torch’s personality would be
transferred lock, stock and barrel
to the Spider-Man strip (whose
first number came out the same
month as this issue) and developed
into a full-scale
rivalry between the
two young heroes.
Interestingly, the
Hulk’s appearance
this issue coincides
with the release the
same month of The
Incredible Hulk #6,
the last issue of the
character’s own title.
The simultaneous
release of the two magazines
suggests that the decision to cancel
the Hulk book may have been a
hasty, last minute one. Although
not impossible, it was hardly
likely that the Hulk’s guest starring
role here was meant to promote
his upcoming membership in
the Avengers, a team book that
wouldn’t debut for another six
months.
Tales of Suspense #39, page 7. Prof. Yinsen sacrifices his life so

that Iron Man may live! And in a panel taken from the same
issue, Heck shows how images of the Vietnam War had already
begun to permeate the American consciousness even as early as
1963.

Don Heck
L ike many professionals in the early days of comics, Don
Heck was a native New Yorker, born in Queens in 1929.
Taking to newspaper comic strips when he was a boy,
Don was strongly influenced by the style of Terry and the
Pirates creator Milton Caniff and soon began doodling on his
own. Before long, he signed up for a correspondence course in
art and after high school attended a local community college
where he was able to take more formal lessons. In 1949, he took
a job with Harvey Comics as a cut-and-
paste man. But such work soon palled
for the aspiring artist and after sending
samples to various comics companies,
freelance assignments began to trickle
in from a number of them. One of the
earliest books for which Don was credited
was Weird Terror #1 (1952) but he soon
branched out to every other genre becoming
adept at all of them: horror, western,
romance, crime, you name it. Still under
the influence of Caniff, and especially
when inking himself, Don’s style
(especially as seen on covers he did for
Horrific) was intricate, forceful, and often
in-your-face. Maybe it was those qualities
that caught the eye of Atlas editor Stan
Lee when he hired Don as a staff member
in 1954. Again, Don did it all with perhaps
his most stunning work on display for a
regular feature called “Torpedo Taylor” in
Navy Combat. Unfortunately, Lee was
forced to lay off Don when Atlas suffered
a cutback in the mid-’50s, but he was one
of the first he asked to return when the
company recovered at the end of the
decade. At that time, working on the
company’s slate of monster books, Don
became part of a trio of powerhouse artists including Jack
Kirby and Steve Ditko, who would go on to make comics
history as the co-creators of some of the most enduring
characters in pop-fiction.

real people, heroes who weren’t perfect, who had extending the armor to cover his whole body. Then,
flaws. A shorthand for this idea became the infirmity, using its electric power to defeat his captors, he makes
an ironic counterpoint to the part of the hero’s outward his escape. Of course any adolescent reader worth his
personality that was intended for public consumption. salt could have seen the most poignant tragedy
The irony of the hero who seemed to live a charmed suffered by this millionaire playboy: permanently
life but harbored a secret, tragic flaw that, even as encased in his chest device, he was unable to develop
the acclaim of the public rung in his ears, rendered close ties with any of the beauties with whom he’d
personal satisfaction illusive, became for Lee an formerly cavorted and especially not with the
irresistible starting point for the creation of new attractive secretary that later came to work for him.
characters. Iron Man was the embodiment of this For Iron Man, Lee would have his best opportunity to
idea. Tony Stark had it all, wealth, genius, women, explore the nature of the tragic hero, and in Don Heck
until he was caught by a booby trap in Vietnam and (who’d been with the company for years, specializing
captured by the Viet Cong with a piece of shrapnel in war, western and horror stories), the perfect artist to
closing in on his heart. Knowing he has only a few dwell on the human inter-relations the strip offered,
days to live, the Communists decide to force him to instead of the headlong action that was Kirby’s forte.
work for them until he drops. Instead, Stark builds
himself a chest device designed to keep the shrapnel Amazing Spider-Man #1
from entering his heart while at the same time “Spider-Man”; Stan Lee (script),
“Spider-Man vs. The Chameleon”; Stan Lee (script),
Cover: Jack Kirby (pencils), Steve Ditko (inks)
Six months after his debut in Amazing Fantasy, which
readers apparently received with unbridled enthusi-
asm, Spider-Man was given his own title with
Amazing Spider-Man #1 (Mar. 1963). The splash page
set the tone: Spider-Man, his back to a wall, is
hemmed in by pointing, accusatory fingers with a
shouting, clench-fisted J. Jonah Jameson as cheer-
leader. “Freak! Public Menace!” screams a blurb, sig-
naling unsuspecting readers that this wasn’t going to
be your ordinary, garden variety super-hero! Indeed,
Spider-Man would become the first feared, hated and
vilified hero in comics, not because he wanted to fool
the underworld into believing that he was one of them
or anything like that, but just because he didn’t con-
form. The early issues of the book would become a
textbook on the power of the media to manipulate
public opinion, to arouse irrational fears in people, to
create a mob mentality. Sure, J. Jonah Jameson would
be the principal rabble rouser, but he was only a sym-
bol for every member of the media with an axe to
grind. But the question is, could this aspect of the
Spider-Man book have been Lee’s alone, or was he
even at this early date, conceptualizing the strip in tan-
dem with Ditko? Ditko has since been associated with
the philosophy of Objectivism and its principal
spokesman, writer Ayn Rand. Was it coincidence that
Smash Comics #12. Was Quality Comics’ Bozo an
two of the main elements of Rand’s novel The
Iron Man prototype? Spotting “prototypes” Fountainhead (and of its 1947 film adaptation also
became a popular sport in the 1980s as fans scripted by the author) was the power of the press (in
combed older comics, especially Marvel’s “pre- the person of a newspaper publisher) to destroy a per-
hero” Atlas monster books, for clues to the son’s reputation or Howard Roark’s fanatical determi-
origins of their favorite characters.
nation to preserve his independence? Be that as it may,

Spider-Man’s greatest enemy Fully expecting to be exonerated, Peter is shocked to find newspapers
would be those forces trying to and even FBI wanted posters demanding his arrest. “Unfortunately, if
suppress his individuality something is shouted long enough, there are always those who will
(expressed in his desire to be a believe it…” writes Lee at the conclusion of the story, echoing ominously
super-hero, a scholarship student Hitler’s theory of the big lie. The story ends in a way that would become
or a good nephew to his Aunt May) standard fare for suffering Spidey fans as a worried and perspiring Peter
rather than the costumed rogues’ Parker clutches the newspaper and wonders not only about how to deal
gallery with which Lee and Ditko
would populate the book. And
right off, they’re all introduced in
this first full-length story. On page
2, as he overhears his Aunt plead-
ing with the landlord for more time
to pay the rent, Peter is briefly
tempted to embark on a career of
crime in order to solve the family’s
money crisis; fortunately however,
his moral nature rebels against the
idea and he decides to go into
show business
instead! On page 3,
Peter is derided as a
“bookworm” by his
classmates and on
page 4, he runs into
unyielding bureau-
cracy when the
bank refuses to cash
a check made out to
a masked Spider-
Man (“Don’t be
silly! Anyone can wear a cos-
tume!”). Finally, Peter loses his
variety show gig because of a
growing media attack on his alter
ego painting Spider-Man as a men-
ace to society. “Children may try to
imitate his fantastic feats! Think
what would happen if they make a
hero out of this lawless, inhuman
monster!” editorializes Daily Bugle
publisher J. Jonah Jameson. Later,
unable to raise money himself or
find a job, Peter spies his Aunt sell-

ing her dearest possessions at a
local pawn shop. The sight triggers
his growing frustration as he
pounds away at a brick wall, vow-
ing, “I can’t let Aunt May down!
Even if it means the Spider-Man
will again stalk the city by night!” Amazing Spider-Man #1, page 1. Like Randian hero Howard Roark,
In an attempt to show the public Spider-Man would be hounded by a media unable to abide anyone
that he’s not a menace, Peter saves who thought for himself and did not conform to the fickle
opinion of the mob.
the life of Jameson’s astronaut son.

to be given a second chance in Tales to Astonish two

years later, Ditko would be there at the start. Even
more, it would be Ditko who suggested a change in
format from episodic stories to a newspaper comic
strip style serial that would drive the feature to a
success it had failed to find the first time around.
But that was all in the future; for now it was business
as usual as Lee forced yet another oddball change
onto the Hulk. Remember how at first, the Hulk
had been a simple rampaging powerhouse with a
personality split evenly between Banner and his
green-skinned alter ego? And remember how, after
that, he stopped changing with the rising and setting
of the sun? Then he retained Banner’s intelligence
when he was the Hulk? Well, this time the change
was even weirder: Banner changes into the Hulk
but retains not only Banner’s intelligence, but his
head! That’s right, sitting atop the Hulk’s lumpy
green body was Banner’s pink-skinned head! Even
more absurd, Lee has Hulk/Banner pull on a plastic
Author ayn rand. the fountainhead (inset).
mask of the Hulk’s face in order to hide his Banner
identity to the world! (Luckily however, by the
with the fact that everyone in town hates his alter ego time soldiers pull off the mask while the Hulk is
(even his Aunt May has been co-opted: “Oh dear, I cer- unconscious, Banner’s head had changed to match
tainly hope they find that horrible Spider-Man and the rest of ol’ Greenskin’s body...whew!) But where
lock him up before he can do any harm!”), but more in the world was Lee going with the character?
importantly, are they right in doing so? The assault on What was he thinking? It began to seem as if Kirby
Peter Parker’s very identity as an individual had bailed out just in time, because if publisher Martin
begun, and no one reading this book in 1962 could Goodman was sitting in his office scratching his
guess how it would all end. Fun Fact: Once again, it head about why the Hulk feature wasn’t selling,
was Kirby who was called in to draw this issue’s cover he didn’t have to look far to find out! This latest
(with Ditko inks), perhaps because it featured the development was clearly carrying things too far,
Fantastic Four (in the second of this issue’s two stories, and in “The Incredible Hulk vs The Metal Master”
Spidey approaches them for a job!) it was only Ditko’s wonderful ability to impart an
even greater sense of brutishness to the Hulk with a
Incredible Hulk #6 range of facial expressions that really made the
“Vs. The Metal Master!”; Stan Lee (script), character as fearful as the reader was meant to
Steve Ditko (pencils), Steve Ditko (inks) believe he was that salvaged the issue. However,
Cover: Steve Ditko (pencils & inks)
this issue wasn’t all bad. How could it be, when it
A creative switch in Incredible Hulk #6 resulted in also featured the origin of the Teen Brigade? Never
artist Steve Ditko stepping in for Kirby in what heard of them? Well, it’s understandable as the Teen
would turn out to be the title’s final issue. Whether Brigade (a group of teenaged ham radio enthusiasts
Lee knew the Hulk book would be canceled with united by Rick Jones into a national network that
this issue or not, sales figures no doubt gave him at would go on to star in early issues of the Avengers)
least a suspicion that the title wasn’t doing well on didn’t make too many appearances. But here at
the newsstands. And knowing that Kirby’s talents least, they came in handy to help the Hulk defeat
could be better used elsewhere (the artist was drawing the menace of the Metal Master, who can turn any
the FF and the Human Torch and Iron Man strips in metal to slag. They even get a word of thanks from
Strange Tales and Tales of Suspense respectively on a a suddenly civilized Hulk! “Gosh! Imagine the
monthly basis, with a new war book called Sgt. Fury Hulk complimenting us! Wowee!” Was the Hulk
and His Howling Commandos in the works) Lee going through yet another change?! If so, readers
probably decided that the underutilized Ditko found out how insubstantial it was after ol’
would be a good substitute. He was more right than Greenskin flies into a rage when he discovers that
he knew, because when the “Hulk” strip was slated the gamma machine he uses to change back into

Bruce Banner doesn’t work. “I always hated theme to the book? And did they have in mind from
Banner’s weak body, always wished I could stay as the beginning to bring in Cap early in the run? If so,
the Hulk! But now, to be the Hulk forever, to always and the scheduling of the events of the various
be hunted, feared...” With beads of Ditko-perspira- books involved seem too close to allow any other
tion coming down his face, a suggestion of what interpretation, then the importance of Avengers #1
was becoming Lee’s forte could still be seen must assume greater significance in the development
beneath the nutty plot contrivances: inverting of Marvel as one of the earliest examples of the long-
reader expectation about what it would be like to range, in-house, crossover that would become a staple
have super powers. In real life, a super-strong being of comics in later years. (Interesting aside: no sooner
like the Hulk would be hunted by the authorities. A had these events taken place in the Avengers, than Lee
Superman, if there ever were such a person, would and Kirby seemed to try them again in the new X-Men
likely be obliged to register with the government title that debuted in the same month. There again,
so ordinary people could sleep at night. But the Magneto and his Brotherhood of Evil Mutants and
tradeoff for public security was frequently misery for their competition with the X-Men for the recruitment
the “super-hero” as in the Hulk’s case, when he of new members became a unifying thematic motif
found himself tortured by forces beyond his control. in the stories with these villains appearing again and
In these early, formative years, Lee was still learning, again in the book’s first eleven issues).
and the anxieties he learned to tap into would
uncannily parallel the feelings of his young readers
as the social revolution of the 1960s progressed.
Avengers #1
“The Coming of the Avengers!”; Stan Lee (script), Jack
Kirby (pencils), Dick Ayers (inks)
Although the concept behind Avengers #1 (Sept 1963)
may not have been an original one (grouping all of
the company’s heroes who were at loose ends together
in a single team, sort of a super-crossover), what Lee
and Kirby may have had in mind for the book was.
The evidence? Consider this: in the team’s debut, the
story tells how Thor, Iron Man, Giant-Man and the
Wasp join together to combat what they presume is a
renegade Hulk. Of course, after many pages of battle
action between all the heroes, Thor guesses that his
evil brother Loki is behind the set-up. When Loki is
defeated and all is made clear between the heroes,
they decide to band together as the Avengers. So far
so good. But now look at this chronology: by the end
of the very next issue, the Hulk quits when he suspects
his partners don’t trust him. In #3, he joins the Sub-
Mariner in battle against his former teammates, and
in #4 Captain America joins the team as the Hulk’s
© 2009 DC Comics.
replacement. Got that? Okay, now look at this: the

very same month that the Hulk quits the group in #2,
the Human Torch fights a faux Cap in Strange Tales
#114. Two months later, the real Captain America is
found by the Avengers and joins the team as the
Hulk’s replacement. Coincidence? Maybe. But what if
Justice League of America #1. Although sales of
it wasn’t? Did Lee and Kirby have it all planned from
DC’s JLA book has been given as the immediate
the beginning? Did they include the Hulk in the inspiration for the creation of the FF, its
Avengers with the intention of having him quit to composition made up of the company’s greatest
become the raison d’etre so to speak for the Avengers heroes more closely resembled the Avengers.
existence and later, to provide a recurring, unifying


Amazing Spider-Man #2 the first time and

“Duel to the Death with the Vulture”; strikes a famous deal:
Stan Lee (script), Steve Ditko (pencils & inks) that Jameson never ask
“The Uncanny Threat of the Terrible Tinkerer!”; Stan him how he gets his
Lee (script), Steve Ditko (pencils & inks) photos and that he
credit the photos to “a
Although Spidey had technically tackled his first villain Now Magazine staff pho-
(the Chameleon) in issue #1, it wasn’t until this one, tographer.” Although Jameson would later be char-
Amazing Spider-Man #2 (May 1963), that he met a real, acterized as a skinflint, he must have been pretty
honest to gosh, costumed super-villain. The first, and impressed with the pictures Peter took of the Vulture
easily one of the most memorable of Spidey’s rogues’ because he was able to pay “the rent for a full year” and
gallery of villains (which would later include such to buy “the newest kitchen appliances” for his Aunt
unforgettable characters as Dr. Octopus, Green May with the proceeds! Curiously however, Peter
Goblin, Sandman and the Scorpion), the Vulture looked never tells his aunt how he earned so much money, nor
like he was only an old man with a pair of wings, but does she ask! It was one of few happy endings for our
as our hero would find out, there was a whole lot hero. Fun Fact: This issue sports the new “Marvel
more about him than met the eye. In a way that was Comics Group” logo at the top left hand corner of the
never satisfactorily explained, the Vulture’s wings gave cover. Designed by Ditko, the new logo gave instant
him not only great maneuverability, but extraordinary recognizability to the company’s product on crowded
power. Swooping through the air, for instance, he magazine racks where often only the very top or
could swing his feet at a stone cornice, reducing it to leading left edge of a comic book cover was visible. And
rubble with the impact. How his flesh and blood feet while each logo featured a head shot of whichever
could withstand such punishment was a mystery. But character starred in a particular book, not all were
who cared, when readers could thrill to page after visually successful, with one wag claiming that the
page of Spidey in Ditko-inspired aerial combat high shot of Thor made him look like “a grinning fool!”
above the city? But perhaps the most important
element in this issue’s story isn’t Spidey’s battle with Sgt. Fury and His Howling Commandos #1
the Vulture (which was usually the case for the “Sgt. Fury and His Howling Commandos”;
Spider-Man comic: Peter Parker’s problems were Stan Lee (Script), Jack Kirby (Pencils), Dick Ayers (Inks)
generally more interesting than the action!) but Peter’s Cover: Jack Kirby (pencils), Dick Ayers (inks)
inspiration to sell photos of himself in action as Lee once said that he created Sgt. Fury and His
Spider-Man to the Daily Bugle. Interestingly, the idea Howling Commandos on a bet to prove that he could
for the scheme came from Liz Allen, a fellow student adapt his new ideas to any genre, even war comics.
whom Peter overhears in class: “A photo of the To that end, he made sure he called Sgt. Fury and His
Vulture would be worth a fortune! Nobody can get Howling Commandos #1 (May 1963) “the war comic
close enough to him to snap one!” “Say!” thinks Peter, for people who hate war comics.” On the other hand,
“That’s an idea! I never thought of it before! a story told by artist John Severin had it that he was
Magazines would pay big money for hard-to-get approached by Kirby at one point and asked if he
photos!” But, while trying to take a picture of the would be interested in collaborating with him on a
Vulture using a miniature camera that had once comic strip that would be about a cigar chomping
belonged to his Uncle Ben, Spidey is captured and sergeant in charge of a misfit band of GIs during
locked in a water tower. The incident teaches him a World War II. Whether this was the actual genesis of
lesson: be prepared. As a result, Peter designs himself the Sgt. Fury strip or merely evidence that Kirby and
a utility belt to hold extra cartridges of web fluid, Lee pooled ideas about creating a new war comic is
a flashlight “spider signal” and a place to store anyone’s guess. However the title came to be, the Sgt.
his camera. Later, Peter approaches newspaper Fury strip has frequently found itself an unsung
and Now Magazine publisher J. Jonah Jameson for product of Silver Age Marvel, a situation it doesn’t
deserve; in fact, Lee and Kirby here pulled out all the
Avengers #1, page 16 (opposite page). The stops, going over the top in a manner they didn’t
classic nine-panel grid often used by Kirby in dare on their regular comics. As far removed from
the early years would soon prove inadequate to the competition’s line of war books as it could possibly
contain the action and the increasing bulk of be, Sgt. Fury was less a gritty war book bent on
his outsized figures as Marvel moved into its
grandiose years.
exploring the situation of men in combat than an
impossible exaggeration of army life as based upon

the two creators’ actual

experiences. The strip
owed a lot more to
films such as Desperate
Journey, No Time For
Sergeants, and Mister
Roberts than to 12 O’Clock
High or Guadalcanal Diary,
because not only did Sgt.
Fury possess some of the
most rip-snortin’ action
art Kirby ever drew for
Marvel, but it also had
some of the most outra-
geously funny scenes in
comics. Typical plots were usually divided between
the Howlers’ impossible missions behind enemy
lines and their rivalry with Bull McGiveny’s Maulers,
which left little room for serious introspection. Later,
when Fury got a sophisticated British girlfriend, the
contrast between the two would be played to the hilt
with the culmination of hilarity taking place in Sgt
Fury #13. Lee, however, kept readers off balance by
© 2009 DC Comics.
sometimes throwing them curveballs. The seeds for
such future stories were planted in a double-page
spread on pages 2 and 3 of this first issue with Lee
granting his characters the ethnicity denied more
mainstream super-heroes. Ethnicity at the time, was
something denied most characters in comics, perhaps GI Combat #87, page 1. Whether it was
in a misguided effort by those in the industry to “the Haunted Tank,” “the Unknown Soldier,”
alienate as few potential customers as possible. But “the Losers,” or “Enemy Ace,” humor as well
as barracks life was frequently in short supply
the semi-realism of the war comic, following the
in more traditional war comics such as DC’s
example set in Hollywood films that frequently long running GI Combat.
depicted combat units made up of Americans of mixed

heritage, provided sufficient cover for taking some
risks. The make-up of the Howlers mirrored the real
army with which they were ostensibly a part, includ-
ing having a Jew, an Italian-American and a Black
man as members. Unfortunately, after Kirby left the
strip with #7 and then Lee with #28, it lost much of its
humor and utterly unique flavor. Needless to say
however, Lee won his bet. Fun fact #1: Whether
intentional or not, except for a single interior panel,
the character of Gabriel Jones, the Howler’s African-
American member, was colored the same pink color
used for his white comrades in arms throughout this
issue! Fun fact #2: Was the Sgt. Fury book the
uncredited inspiration for The Rat Patrol, a television
series that debuted in 1966 that featured a quartet of
Mr. Roberts starring James Cagney was a film soldiers sent each week on suicide missions against
that emphasized the sometimes absurd nature of Rommel’s Afrika Corps? Both the comic and television
regimented life in the military. show had more than a little in common…

Strange Tales #110 doctor’s appearance in this issue by a blurb on the letters page of the
“The Wizard and Paste-Pot-Pete!”; concurrent issue of the Fantastic Four, there was no clue of his presence
Stan Lee (co-plot), Ernie Hart anywhere on the cover of Strange Tales #110 (which announced instead
[as H.E. Huntley] (dialogue), Dick the Human Torch’s battle with the Wizard and Paste-Pot Pete!). As for
Ayers (co-plot, pencils & inks) Ditko, his growing interest in the characters he was handling at Marvel
“Dr. Strange, Master of Black
Magic!”; Stan Lee (dialogue), seemed to inspire him to spend more time on his art. Over in the Spider-
Steve Ditko (plot, pencils & inks) Man title, his pencils had become increasingly elaborate, while for this
Cover: Jack Kirby (pencils), Dick
Ayers (inks)
Appearing out of nowhere
in Strange Tales #110 (July
1963) was “Dr. Strange,
Master of Black Magic” and
comic book magicians would
never be the same again!
Perhaps suggested to Lee by
Ditko, Dr. Strange’s earliest
adventures (hardly more than
five pages long in the beginning)
resembled nothing more than the
short weird stories that’d been
appearing in this book (and Tales to
Astonish and Tales of Suspense
among other Marvel mystery titles
of the 1950s) for years. On the face
of it, the only difference with Doc
Strange was that he was a kind
of host (traditional for weird
anthologies) who took a more
active role in his yarns than
your average Crypt Keeper.
But if readers at the time looked
beyond the obvious, surface
elements of the character,
they would’ve been able to
see that Dr. Strange wasn’t
their father’s top hat-and-
tailed magician! He looked
vaguely oriental, wore an
outlandish costume, tossed
around weird spells that
tripped easily on the tongue © 2009 Marvel Characters, Inc.
and crossed dimensions as easily

as other people crossed the
street! In addition, the menaces
he fought, far from being mere
costumed bad guys, ghosts or
dopplegangers, were frequently
personifications of such abstract
This simple sketch of Dr. Strange by Ditko demonstrates all the
concepts as fear, death or madness.
attributes that separated the character from other magicians
Adding to the mystery, was the preceding him: the funky costume; spells crackling with dangerous
manner of the character’s debut: energies; and the dashing, almost 3-D posture that marks him as a
although fans were alerted to the man ready to hurl himself between dimensions!

Amazing Spider-Man #3, most of the elements that

would make the character a household name (well,
at least in households with comic book readers!)
were already in place: his gadgets, his easy banter
when mixing it up with the bad guys, a suspicious
public, an oppressive media, his isolation from his
peers and especially his human frailties. But in case
anyone decided that it was Peter Parker against the
world, they were mistaken. As it was in real life,
sometimes a person’s worst enemy is himself. Just as
it was his own selfishness that prevented him from
stopping a fleeing criminal in Amazing Spider-Man
#1 and made him partly responsible for the death of
his uncle, so it was again this issue when our hero
suffers his first defeat, not because the villain was
too powerful (although Dr. Octopus wasn’t exactly a
Action Comics #14 and Four Color #752. Not
pushover), but because of his own overconfidence.
your father’s master of the mystic arts! Before
Ditko’s wild take on Dr. Strange, magicians in “It’s almost too easy!” thinks Spider-Man after tak-
super-hero comics frequented the same haber- ing only a single panel to foil a trio of safe crackers.
dashers as such real world prestidigitators as “I’ve run out of enemies who can give me any real
Harry Blackstone and Richard Cardini. Strange, opposition! I’m too powerful for any foe! I almost
on the other hand, probably bought his clothes wish for an opponent who’d give me a run for my
in the same Greenwich Village consignment
shops as the local hippies!
money!” A wish that is immediately granted when
Dr. Otto Octavius is caught in an explosion at a
nuclear research laboratory. Brain-damaged, the
first appearance of Dr. Strange, they were infinitely doctor survives, but with the four mechanical arms
more detailed and textured than his contemporaneous with which he had been handling the nuclear mate-
work at Charlton Comics or even for much of his rial now grafted to his body. Later, a confident Peter
pre-hero work at Marvel. For “Dr. Strange,” Ditko Parker is given the assignment of getting pictures of
pulled out all the stops. Favoring the nine-panel grid the mad doctor by Daily Bugle publisher J. Jonah
for his pages, he filled the story with indelible Jameson, but on arriving at the hospital he discovers
images: the portrait of a man waking from the terror that Octavius (now calling himself Dr. Octopus) has
of a nightmare, his haggard face illuminated in the taken over and is holding hostages. Tackling
glow of a match; the mountaintop lair of Strange’s Octopus as Spider-Man, Peter is defeated and
mentor, the Ancient One; the figure of Evil, robed, thrown from the building in ignominious defeat. His
chained and caught in a blackened, other-dimensional confidence shattered, Peter leaves the scene and tells
briar thatch; the appearance of Nightmare himself Jameson that he’s through as a photographer. “I’m a
riding a crazy, two-dimensional silhouette of a failure!” he thinks. “Spider-Man is a joke! A nothing!”
horse. After an hallucinatory experience like that, The next day however, Peter’s confidence is rekindled
it must’ve been hard for readers to go back to the in an unexpected way as the Human Torch (who,
prosaic world of normalcy inhabited by artist Dick ironically, has been called in by the authorities to
Ayers and the Torch! But at least they were eased tackle Dr. Octopus!) gives a speech at the local high
into the weird world of Dr. Strange with a five-pager school concluding with the admonition that the
called “We Search the Stars”, drawn by Larry Lieber, students “never give up” if at first they fail in their
whose lackluster pencils were transformed here into studies. “It’s almost as though he’s talking to me!”
something resembling cool by the Wolverton-like thinks Peter from his place in the audience. His
inks of Matt Fox! confidence restored by the realization that even the
FF had suffered its share of defeats, Peter goes after
Amazing Spider-Man #3 Octopus again and beats him. Although Lee had no
“Doctor Octopus”; Stan Lee (script), reservations about having Peter Parker suffer a crisis
Steve Ditko (pencils & inks) in confidence every now and then, repetition of the
Cover: Steve Ditko (pencils & inks) plot device helped to remind readers that, despite
It didn’t take long for Lee and Ditko to get up and his fantastic feats, Spider-Man was after all, only
running with their new character, Spider-Man. By human. A fact that readers didn’t take long in catching

on to: “In the Spider-Man, you have a hero that really reaches out to Strange Tales Annual #2
the hearts of the readers,” read one letter on this issue’s letters page. “On the Trail of the Amazing
“His financial state, his social life, and his acceptance as a super-hero Spider-Man”; Stan Lee (script),
are all things that make this guy appealing. (Yes, appealing; his appeal Jack Kirby (pencils),
is gained more through pity than admiration of him.)” Already, with Steve Ditko (inks)
the very first issue, Spider-Man was finding his audience. Sol Brodsky (inks)
Simultaneously with Strange Tales
#110, the Torch was appearing
with teenage rival Spider-Man in
Strange Tales Annual #2 (mid-
1963). Setting the pace for the
two teenage heroes’ competitive
relationship that would go on
for years (most memorably in
Spider-Man #8 where Spidey
actually crashes one of the Torch’s
parties!), it was filled with the
kind of mutual antagonism that
was by now familiar between the
Torch and the Thing. For page
after page, even after a misunder-
standing between
the two heroes was
cleared up, readers
were allowed to
eavesdrop on the
cutting banter they
continually threw
at each other. It
was a far cry from
the polite meeting
between Robin and
Superboy that had
taken place at the competition
only a few years before! By the
time of the events in this story, the
Torch and Spider-Man have
already met informally in Amazing
Spider-Man #1 (when Spidey
went to the FF looking for a job!).
This time, under suspicion for

theft, Spidey decides to drop in on
the Torch for help in clearing his
name (how Spider-Man knew the
Torch lived in Glenville when it
was supposed to be a secret, goes
unexplained). Unknown to him
however, besides being jealous
Amazing Spider-Man #3, page 13. With its mixture of youthful over Spider-Man’s dominance in
exuberance and fears of inadequacy, the Spider-Man strip finds the local press, the Torch has been
its audience among readers who quickly learned to see themselves
in Peter Parker’s struggles not merely against costumed villains
alerted by the police to be on the
but in the misfortunes and disappointments of everyday life. lookout for the wall crawler. In no
mood for explanations, the Torch,

time in plunging the reader into the life of a super-hero

unlike any other! If this issue’s funky new villain wasn’t
enough, the reader was reminded in the story’s very
first panel that Spider-Man didn’t live the glorified life
enjoyed by a certain native of Krypton. “The Spider-
Man Menace!” screams a billboard in the story’s open-
ing panel advertising the Daily Bugle newspaper as our
hero swoops down to net a group of “jewel thieves.”
But what happens is exactly the kind of thing that readers
were beginning to like the character for, the unexpected
twist on some scenario that had become standard fare
in other super-hero comics. In this case, Spider-Man has
been too eager, he stops the thieves before they can break
into the jewelry store and their savvy leader then turns
the tables on him. “There’s no law against three honest
citizens walking in the street at night! You’re a menace,
just like J. Jonah Jameson says!” “He’s right!” thinks
Spidey. “I was a fool! I should have waited till they
broke into the store!” Adding insult to injury, one of the
would-be crooks asks Spider-Man, “Don’t you feel like
a jerk, paradin’ around in public in that get-up?”
Ultimately, Spider-Man is forced to take a quick powder
as the crooks vow to swear out a warrant for his arrest
and summon a policeman to do it! Hoo boy, stuff like
that didn’t happen to the competition’s Dark Knight
Detective (who was even sworn in as a special deputy
© 2009 DC Comics.
in Gotham City!) With no rest for the weary, Spidey

next stumbles into the Sandman, the latest in what
would prove to be a long line of bizarre villains
dreamed up by Ditko. This time it’s Flint Marko, an
Adventure Comics #253. Spidey and the Torch’s
escaped convict who found himself trapped in an
heated rivalry at Marvel was in contrast to “atomic devices testing center,” and wouldn’t you
more polite meetings between DC heroes of the know it, he’s caught in a blast that merges the mole-
time, including the one that occurred here cules of his body with those of the sandy desert and
between Superboy and Robin. voila, the Sandman is born with the ability to change the
shape of his body at will, from making it rock hard to
courtesy of Lee and Kirby, launches into action reducing himself to grainy particles. His first encounter
almost as soon as he spots Spider-Man peeking in at with Spider-Man, however, is brief as our hero tears his
his window. But eventually the action breaks off and mask and is forced to retreat homeward where he must
the Torch learns who the real bad guy is. Meeting take needle and thread in hand to repair his costume.
atop the Statue of Liberty, he and Spider-Man bury But Peter Parker finds out all about the Sandman’s abil-
the hatchet and team up to bring in the Fox together. ities the next day when Marko decides to hide out
The issue is rounded out with a number of fantasy from pursuing police at the local high school. There, the
tales by Kirby, Heck and Ditko and peppered with action is taken up again with an unexpected conclusion
irresistible house ads for such books as Fantastic Four (well almost unexpected, as it was clearly foreshadowed
Annual #1, Sgt. Fury #2 and Avengers #1! What a earlier in the story when Peter went to the basement
summer for readers that must’ve been! and met the maintenance man) in which Spider-Man
“cleans up” the Sandman with the aid of an industrial
Amazing Spider-Man #4 vacuum cleaner! A happy ending right? Wrong! No
“Nothing Can Stop...The Sandman!”; sooner does Spider-Man end the threat of the Sandman,
Stan Lee (script), Steve Ditko (pencils & inks) than he is wanted by the police. Slipping away, he’s
Cover: Steve Ditko (pencils & inks) laughed at by his classmates, spurned by the girls and
Starting right off with an unusual cover design (divided suffers the scorn of the general public. “He must be a
into four panels), Amazing Spider-Man #4 wastes little neurotic of some sort!” says one. The story’s final panel

has Peter Parker, alone in his room, wondering about his sanity. “Can they Journey Into Mystery #97
be right? Am I really some sort of a crack-pot...?” He can’t even win the “The Mighty Thor Battles... the Lava
respect of children: “Don’t you wish you were Spider-Man?” asks one to Man”; Stan Lee (script), Jack Kirby
another. “Nah! Give me the Human Torch any day!” So ends a typical (pencils), Don Heck (inks)
adventure for the tortured teenager...and it was only his fourth issue! “Tales of Asgard!: Home of the
Mighty Norse Gods”; Stan Lee
(script), Jack Kirby (pencils), George
Roussos [as George Bell] (inks)
Cover: Jack Kirby (pencils), George
Roussos (inks)
Although the lead story in Journey
Into Mystery #97 (Oct. 1963) fea-
tured a full-length Lee and Kirby
masterpiece entitled
“The Mighty Thor
Battles…The Lava
Man,” it was the
first installment of a
new back-up series
that makes this
issue truly memo-
rable. Bringing up
the rear behind a
five-page SF yarn
typical for Marvel’s
mystery titles was “Tales of
Asgard! Home of the Mighty
Norse Gods.” Appearing only a
few months following the debut of
Dr. Strange in Strange Tales #110,
the “Tales of Asgard” feature may
have been part of a scheme by Lee
to eventually phase out all of the
weird stories from the mystery
titles in favor of the increasingly
popular super-hero format. By
doing it with back-up features to
the main stories, Lee was simply
following a tried and true formula
for comics, one then in full flower
at the competition. Eventually
however, the back-up story would
die a quiet death at Marvel where

the full-length story (which would
often continue from issue to issue,
with an end hardly ever in sight!)
would come to dominate the
storytelling style. But where other
features such as “Dr. Strange”
Amazing Spider-Man #5, page 2. The bad guys turn the tables on would come to share their host
our hero as Spider-Man is served a dash of realism and readers
are jolted out of their complacency. Unlike a certain dark knight,
books equally with their original
Spidey never became a duly deputized member of the local features (and eventually spin off
constabulary; rather, he frequently found himself scuffing the into titles of their own), the “Tales
polished shoes of officialdom. of Asgard” strip would continue in

its five-page niche in the back of Journey Into Mystery Amazing Spider-Man #5
(and later when it became simply The Mighty Thor) “Marked for Destruction by Doctor Doom!”;
almost to the end of the 1960s (when it was briefly Stan Lee (script), Steve Ditko (pencils & inks)
supplanted by an “Inhumans” back-up). It was in Cover: Steve Ditko (pencils & inks)
the “Tales of Asgard” feature that readers had their Apparently deciding that into every life, even that of
first taste, their earliest inkling of the cosmic scope, Peter Parker’s, a little sun must shine, Lee and Ditko
the universe-spanning grandeur that would come to cut our hero some slack and allowed him a measure
dominate Marvel’s books later in the decade. of good luck for a change! But just as it is in real life,
Matching the larger-than-life scope of the series were problems come and go and sometimes something
the huge, quarter-page panels with which Kirby laid that seems good can turn out to be more trouble than
out “Tales of Asgard” that, in the beginning, con- it’s worth. That’s how it was with Peter’s relationship
cerned themselves not with the characters readers of with Betty Brant. Scorned by his classmates in school
the lead stories had become familiar with, but with and patronized by his boss, J. Jonah Jameson, up till
the origin of the gods and the cosmos itself. Here this issue, the only person that appreciated Peter as
was depicted the legendary frost giants and Surtur, the a human being was his elderly Aunt May; but there
fire demon and Ragnarok are times in a young
and Yggdrassil, the man’s life when he
world tree. Eventually, craves the kind of support
Lee and Kirby would and understanding that
move the timeframe of just couldn’t be found
the stories closer to the in someone of an older
present (say within a generation. Which presents
million years or so!) an interesting situation
when they chose to tell in that Betty Brant, in
the readers of the early appearance as well as in
years of Thor and Loki. being a full-time employee
As the series progressed, as Jameson’s secretary,
it would move somewhat definitely seemed to be an
into the present with a “older woman” in rela-
grown up Thor adven- tion to Peter and his
turing across the fantas- peers, who were all still in
tic kingdoms that dotted Although Vince Colletta’s (right) inking over high school. Indiscreet as
the Asgardian landscape Jack Kirby would suffer popular criticism decades
the question might be,
in fellowship with such after their historic collaboration on Thor, at
the time, he was the fans’ choice as their just how old was Betty?
grand companions as favorite inker on the strip. Old enough to legally
Fandral the dashing, leave school and get a job
Hogun the grim and which would make her at
Volstagg the voluminous! By then, inker Vince least 17 or 18. Peter, who would graduate high school
Colletta, hailed by some as the most able to con- only with issue #28, seems to be a sophomore or
vey the mythic, legendary feel of Kirby’s stories junior which would put him at 15 or 16. In any case,
(and castigated by others for butchering Kirby’s it’s safe to assume that Peter was about two years
vision) would become permanently associated Betty’s junior, which didn’t seem to make much
with the look of the series. It was here too, that Lee difference to them as future issues would show,
seemed first to realize the dramatic potential of the especially as Peter, usually conservatively dressed in
“Thor” strip in general. Perhaps compelled by suit and tie and with the responsibility of caring for
Kirby’s vaulting images, Lee began to alter his and supporting his Aunt May, came across as mature
scripting style to lend the dignity required by the for his age. As time was to show, Betty would not
larger-than-life stories. Consequently, with its only present new and different problems for Peter,
jumble of quasi-Old English cum Elizabethan but, because of her being older and more involved
dialogue, the Thor strip moved from simple with the world outside of school, would soon embroil
super-hero vs super-villain slugfest to a regular Spider-Man with organized crime and all the human
succession of menaces so far beyond such vices such criminals preyed upon. It was to be a real
mundane contests that it became an acquired taste education in the ways of the cruel world for a still
for some comics fans!

idealistic Peter Parker. But all that lay in the future; unique in comics (although not necessarily in the
for now, Spider-Man was still more actively involved world of science fiction as a simple reading of A.E.
in the fight against colorful super-villains than the Van Vogt’s classic novel Slan will bear out), a group of
gritty world of organized crime as the FF’s arch-enemy super-heroes who hadn’t banded together to fight
Dr. Doom tries to get him to be his partner! Doom, crime necessarily or even evil in general, but to seek
you see, made the mistake of believing Jameson’s out and help fellow mutants adjust to their powers
editorials blasting Spider-Man as a public menace and society. In the process, they hoped to also protect
and figures the newcomer would gladly want to team humanity and the reputation of mutants from the
up with an established criminal such as himself. But unscrupulous machinations of such men as Magneto,
our hero refuses the offer and naturally becomes the the “most powerful of the evil mutants.” Magneto
object of Doom’s revenge. Meanwhile, looking for (who also debuted in this first issue) is not your run
laughs at Peter’s expense, high school bully Flash of the mill super-villain. As a matter of fact, to some
Thompson suits up as Spider-Man to show his he may not be a villain at all! His avowed purpose in
friends what a coward the class bookworm was. But life is to end the suffering of his fellow mutants at
it was only Flash’s dumb luck that Doom mistakes the hands of humans by conquering the world and
him for the real thing and Flash finds himself cap- making humans his subordinates. The whole set-up
tured; a situation that forces the real wall crawler to of the series becomes the more interesting as we see
go into action to rescue his tormentor (who, in an Magneto and Prof. X vie for the position of being the
ironic twist, is also Spider-Man’s biggest booster). one to define the role of the mutant in larger society.
The interesting thing here is that for just a moment, Here, Lee and Kirby could explore the ultimate
Peter contemplates leaving Flash to Doom’s mercy...a alienation of the hero as a whole group of them
very human reaction, but certainly not something a must live in seclusion simply in order to protect
typical super-hero was supposed to consider! Fun themselves from those they’re working to save. Fun
Fact: Was it just coincidence that Doom appears here Fact: In science fiction author Henry Kuttner’s Baldy
in Amazing Spider-Man #5 after debuting in the FF stories, written in the 1950s, a new mutant race of
with that magazine’s fifth issue? A similar coinci- telepaths arise who must defend themselves against
dence occurs with the introduction to the growing the threat of a possible pogrom by the more numerous
Marvel universe of two Golden Age revivals when humans. In the stories, mutants are referred to as
the Sub-Mariner appeared in Fantastic Four #4 and “homo superior,” conduct an underground war
Captain America in Avengers #4. You be the judge! between good and evil mutants, and of course,
the outward symbol of their difference is being bald.
X-Men #1 All elements that became part and parcel of Marvel’s
“X-Men”; Stan Lee (script), Jack Kirby (pencils), Paul X-Men strip. Coincidence?
Reinman (inks)
Lee’s new approach to super-heroes came together
at last in X-Men #1 (Sept. 1963), a book consciously
produced with the goal of creating a whole group of
heroes alienated from society. In fact, the X-Men were
only the tip of the iceberg, as it was hinted from the
first that they were only a few of an entire sub-culture
of super-powered mutants. Considering themselves
homo superior, some of these mutants believed they
were the next stage of human development destined
to supplant homo sapiens. At first, the X-Men,
teenagers Cyclops, Beast, Marvel Girl, Ice-Man and
Angel, led by their mysterious leader, the wheelchair
bound Prof. X, appeared to be accepted by homo
sapiens, but as the series would progress, it became
increasingly apparent that they were regarded with
fear and suspicion by the human race. Indeed, the Slan by A.E. Van Vogt and Mutant by Henry
whole strip seemed isolated, occupying its own Kuttner were early science fiction stories that
explored the concept of mutants struggling to
separate corner of the growing Marvel universe. With find a place in human society.
the X-Men, Lee and Kirby had created something


typical hyperbole for Lee, who’d plastered “The

X-Men #1, page 12. X-Men founder Prof. X World’s Greatest Comic Magazine!” on the cover of
makes plain the fact that mutants are a people
apart when he refers to the “outside world”
the fourth issue of the Fantastic Four at a time when
away from the protected confines of his school that book could barely stand comparison with most
for gifted youngsters. Later, he makes explicit the other comics on the newsstands. But hyperbole or not,
code of the Baldy culture in Kuttner’s Mutant, it was hard to argue with the sentiment when present-
i.e., to protect the human race from evil mutants ed with this issue’s story as Spider-Man travels to the
like Magneto.
Florida everglades to battle one of his strangest foes,
the Lizard. The Lizard, you see, is actually mild-
Strange Tales #114 mannered biologist Curt Connors who has been
“Captain America”; Stan Lee (co-plot, dialogue); Jack conducting experiments involving the regenerative
Kirby (co-plot & pencils), Dick Ayers (inks) powers of lizards in order to regrow his own missing
“The Return of the Omnipotent Baron Mordo!”; Stan arm. Instead, he winds up becoming an anthropoidal
Lee (dialogue) Steve Ditko (plot & pencils), George
Roussos [uncredited] (inks) lizard with a sort of Jekyll/Hyde personality. As the
Cover: Jack Kirby (pencils), Dick Ayers (inks) super-strong Lizard, all Connors wants to do is to make
the world safe for lizard-kind and forget about his wife
An event that would prove momentous for the and son. But it’s those very people, and the knowledge
nascent Marvel universe occurred with the quasi- that Connors himself means no harm, that presents
crossover of Strange Tales #114 (Nov. 1963). There was Spider-Man with the problem he’d face on and off for
more irony than substance in that issue when Lee and the next 100 issues: how to defeat the Lizard without
Kirby revived Captain America from many years in hurting him or getting himself killed in the process?
comic book limbo to battle the Human Torch. It turned
out that this Captain America was an imposter
(actually an old Torch villain called the Acrobat) while
the Human Torch is himself merely a retooled version
of the original 1940s character. But regardless of the
nature of the combatants, Kirby gave readers page
after page of colorful acrobatic thrills as the Torch tries
to fight someone he thinks is the real Captain America.
Finally, as the Torch relaxes at home reading old
Captain America comics, Lee leaves readers with the
offer of bringing the real Captain America back if they
demand it, which, as everyone knows, they did.
Reader demand also figured in the latest installment
of the “Dr. Strange” strip in the back of the book,
wherein Lee and Ditko continued to exercise their
fertile imaginations as the good doctor tries to ward
off the evil intentions of Baron Mordo.
Amazing Spider-Man #6
“Face-to-Face With...the Lizard!”; Stan Lee (script),
With sales climbing and a definite sense that some-
thing was in the air among comic book readers, Lee
© 2009 DC Comics.
boldly christened the dawning new era as “The

Marvel Age of Comics” and trumpeted the sentiment
on the cover of Amazing Spider-Man #6. The assertion
neatly superimposed itself over the years since 1955
(when DC introduced the new Flash, the first of its line
of heroes updated from the 1940s) which in fan circles Showcase #4. The introduction of the new
were slowly becoming known as comics’ “Silver Age” and improved Flash in 1955 marked what is
as opposed to the “Golden Age” which was generally commonly accepted as the beginning of comics’
Silver Age.
considered to have taken place in the 1940s. It was

Strange Tales #115 The tables were reversed with

“The Sandman Strikes!”; Stan Lee (co-plot, dialogue), Strange Tales #115 (Dec. 1963) when
Dick Ayers (co-plot, pencils & inks) the usually lackluster “Torch” strip
“The Origin of Dr. Strange”; Stan Lee (co-plot, dialogue), is eclipsed by its upstart co-feature,
Steve Ditko (co-plot, pencils & inks) “Dr. Strange.” Here at last, Lee and
Cover: Jack Kirby (pencils), Steve Ditko (inks)
Ditko get around to giving Strange
an origin story. And although the
lack of one seemed to add to the
aura of mystery surrounding the
character, it didn’t hurt a bit as we
discover that Dr. Strange was
indeed a real physician who,
because of an auto accident that
resulted in nerve damage, lost the
use of his hands for delicate
operations. Vain and unfeeling, he
refused to have anything more to
do with medicine and became an
alcoholic drifter. At last, at the end
of his rope, he
decides to visit the
Ancient One with
the hope that the
aged guru might be
able to restore the
use of his hands.
Instead, he learns
the ways of magic,
becomes the Ancient
One’s disciple, and
defeats the designs
of his mentor’s previous student,
the evil Baron Mordo. Throughout,
it’s Ditko’s cool pencils and inks
that give the strip its atmosphere.
Who can ever forget the panels
showing Dr. Strange, down on
his luck, his face unshaven and
haggard; the Ancient One’s lair
clinging precariously to its cliffside
perch or the overall gloom and

strangeness of the Himalayan
monastery where Strange first
Strange Tales #115, page 1. Dr. Strange’s origin in this issue bore
not a little resemblance to Hollywood’s adaptation of the
Somerset Maugham novel The Razor’s Edge (right) in which a
disillusioned veteran searches the world for the meaning of life,
finds respite in a Tibetan type monastery under the tutelage of
an ancient teacher, and returns to civilization with the suggestion
of strange powers.

learns the mystic arts? Compared to all this, the “Torch” improvement in the scripting as Lee’s easy dialogue,
strip, still regularly drawn by Dick Ayers (who had the especially among the book’s supporting cast, seemed
misfortune of being in the same book as Ditko), was to flow naturally out of the many melodramatic
pretty nowhere, even with the pairing of the Torch with situations. Adding to the mix, was the subtly subver-
the Sandman and a guest appearance by Spider-Man. sive nature of the repartee between Spider-Man and his
villains (who frequently seemed more like straight men
Amazing Spider-Man #7 than bad guys): was the youthful hero unnecessarily
“The Return of the Vulture”; Stan Lee (script), Steve flip with his more serious enemies, most of whom just
Ditko (pencils & inks) happened to belong to the older generation? “This will
Cover: Steve Ditko (pencils & inks) be our final encounter, you young fool!” says the
“Here is Spider-Man as you like him...fighting! Joking! Vulture in this issue. Was he acknowledging a
Daring! Challenging the most dangerous foe of all, in generation gap between himself and Spider-Man?
this, the Marvel Age of Comics!” At least that’s what it Likewise, was it respectful of his elders for Spider-Man
said on the cover of Amazing Spider-Man #7, and even in to seal J. Jonah Jameson’s mouth shut with webbing
the short time since the character’s debut only a year or (an act Peter seemed to take too much pleasure in)?
so before, Lee and Ditko had found a formula for the
strip that would keep storylines going for a good long Amazing Spider-Man #7, page 1; Tales of
time. Sub-plots would be introduced, supporting Suspense #48. A double dose of Ditko! Just as
characters would be added and Peter Parker’s list of the artist was already exerting an influence on
problems would continue to grow, some to be resolved the Spider-Man strip, so too was his presence
felt in the more out-of-the-way “Iron Man”
but more being added all the time. What might have feature as he was called upon to redesign the
ended up a confusing mess was made easy to follow hero’s armor resulting in a look that would
and easier to be drawn into by a corresponding stand for decades.

“Here, rest your head against my shoulder, blue eyes,

and let’s enjoy the silence,” Peter tells Betty as they
snuggle beneath a desk. “But what will Mr. Jameson
say?” asks Betty as the angry publisher storms about
the office. “Nothing, baby, for at least an hour!” Peter
replies. Meanwhile, Ditko continued to tighten the art,
backing up Lee’s dialogue with characters that showed
a range of emotional reactions—an effect that offered
readers a clear choice between his own style and that
of Kirby’s more idealized heroes. And was it any
coincidence that Marvel’s two most creatively radical
characters, the two strips that most undermined
expectations of what a hero was thought to be, were
also the only two regular features held down by
Ditko? Not likely, as Ditko would be the first artistic
collaborator whom Lee would acknowledge as a full
creative partner in the strips they produced together. Although the mushroom cloud became an iconic
image of the atomic age, ordinary people in the
In the old days before the introduction of the FF, when 1950s didn’t obsess about it the way today’s
the two worked on hundreds of weird stories together, retro-historians would have us believe. In fact,
splash pages would be signed “Lee and Ditko,” usually people thought so little of it that Lee could
in Lee’s hand, suggesting an equal partnership. Later, have inventor Tony Stark detonate a nuclear
first with Spider-Man, then with “Dr. Strange,” Ditko was device at a test range on Long Island as he did
in Tales of Suspense #49!
allowed plotting credit on the splash page of each
feature. And since nothing much was different with the
storytelling after the acknowledgement than before, it virtually unchanged for the next thirty years! “See the
must be assumed that the artist had had a hand in plots NEW Iron Man!” screamed a blurb on the cover
much sooner than that, maybe from the beginning. pointing to the red and gold figure of Iron Man
crashing through a door. In a wonderful and ingenious
Tales of Suspense #48 sequence, Ditko (in a reasonable and almost believable
“The Mysterious Mr. Doll”; Stan Lee (script), fashion) not only shows the reader just how Iron Man’s
Steve Ditko (pencils), Dick Ayers (inks) armor has been refashioned, but exactly how he puts
Cover: Jack Kirby (pencils), Sol Brodsky (inks) it on! (It’s all done with magnets see, which draw the
Nothing ever stayed the same at Marvel. Whether various pieces together; the outfit practically dresses
it was the debut of new strips and characters, the Tony by itself!) By comparison, Iron Man’s fight with
discontinuation of books, bad guys that behaved like the sinister Mr. Doll is a let-down, especially when the
good guys or good guys who behaved like bad guys, reader is required to believe that Iron Man is able to
characters dying or just simple costume changes. remodel, from across the length of a room, the features
Which is what happens in Tales of Suspense #48 (Dec. of the villain’s voodoo-like doll from that of himself
1963). A costume change that is. Or to be more specific, to Mr. Doll with the use of a hand-held laser beam!
a retooling of Iron Man’s armor. Already seriously out They sure don’t make comics like this any more!
of date (even as armored figures went, let alone as a
dashing super-hero in the Atomic Age), in the case of Tales of Suspense #49
“The New Iron Man Meets the Angel”; Stan Lee
Iron Man’s armor, change was very much justified! (script), Steve Ditko (pencils), Paul Reinman (inks)
Okay, so Tony Stark had a good excuse for the “The Saga of the Sneepers”; Stan Lee (plot), Larry
gray, robot-like armor he came up with in his first Lieber (script), Larry Lieber (pencils), George Roussos
appearance (he’d been a prisoner of the Cong after all!), [as George Bell] (inks)
and painting it yellow in Tales of Suspense #40 was a step Cover: Jack Kirby (pencils), Steve Ditko (Inks)
in the right direction (if still far from adequate), but if
Tony was going to run with the big boys and wanted to Amazing Spider-Man #8, page 1. In this rather
be considered a major league super-hero, some serious slight back-up story, readers finally got the
alterations would have to be made. And this issue is chance to see how Spidey would have been
where those changes were made as Tony (with an assist handled if Lee had chosen to go with Kirby
over Ditko when the character was first being
by Ditko) designed himself a new, streamlined suit of discussed for Amazing Fantasy #15.
armor that would prove to be so iconic as to remain


Tales of Suspense #49 (Jan. 1964) is a good example of an that featured our hero crashing a party held by the
early Marvel book that falls on the borderline of Human Torch! An expert blend of the strip’s strengths,
the formative years and the years of consolidation, the issue’s main story (“The Terrible Threat of the
displaying elements of both eras. One of the earmarks Living Brain!”) involves a visit to Midtown High
of the years of consolidation was the use of crossovers, School by the latest creation from the labs of the I.C.M.
in which Lee would have characters from different Corporation, a new high-speed computer on wheels.
books guest-star in books not their own. Here, Iron Boasting that the computer could solve any problem,
Man hosts his first crossover as the X-Men guest-star. the company’s representative challenges the students in
Common in the early, formative years, an element of Peter’s class to suggest a question. They do: what is
whimsy and playfulness in this issue surrounds a plot Spider-Man’s secret identity? Immediately, Peter breaks
involving the testing of a nuclear device on Long Island into a cold sweat. “This is terrible! What if the brain is
that in the upcoming grandiose years, would never be smart enough to answer that?” But before the coded
treated in such a cavalier fashion. Caught in the blast, answer can be figured out, Peter and Flash agree to set-
the Angel, a member of the X-Men, has his personality tle their differences in the school gym. Of course, no one
changed for the worse, thus creating a convenient gives Peter a chance against the husky Flash, but when
excuse for Lee and Ditko to have the two heroes battle the football star is distracted by news that the “living
it out. Although Ditko’s art here is serviceable (it’s not brain” is running amok, Peter accidentally strikes
helped by Paul Reinman’s incompatible inks), it’s the him unconscious! Naturally, his victory is deemed a
cover by Kirby that’s the true artistic standout; sham by his fellow classmates: “Booo! You hit him
highlighted by a brilliant pink backdrop that contrasts when his head was turned!” What follows is a hilarious
sharply against the red and gold of Iron Man’s armor fight between Spidey and the computer interspersed
and the Angel’s blue and yellow costume, Kirby’s with bits involving the students, a couple of small-time
simple layout emerges as one of early Marvel’s most crooks who started the trouble when they tried to steal
impressive illustrations. the brain and a denouement that has a dazed Flash cap-
ture the crooks by accident! The whole thing ends when
Amazing Spider-Man #8 Peter casts suspicion on Flash as Spider-Man’s alter
“The Terrible Threat of the Living Brain! “; ego. “That could be why you lost the fight to
Stan Lee (script), Steve Ditko (pencils & inks) Parker! So nobody would suspect who you really are!”
“Spider-Man Tackles The Torch!”; says one classmate. But what really makes this issue
Stan Lee (script), Jack Kirby (pencils),
Steve Ditko (inks) different is that it actually has a happy ending! Peter
Cover: Steve Ditko (pencils & inks) Parker is even seen whistling on the way home from
school! By comparison to the lead story, the back-up
It was very near the end of the early, formative years of tale, “Spider-Man Tackles the Torch,” is a hum drum
Marvel’s development that Lee and Ditko, as if sensing affair drawn by Kirby and only inked by Ditko. Fun
that an era was drawing to an Fact: This issue was the first in
end, let out all the stops for which Peter Parker goes without
Amazing Spider-Man #8, drawing his glasses (they were broken in a
together all the elements that had scuffle with Flash and never seen
made the strip a hit with readers. again). Another innovation created
Billed on the cover as a “Special by Ditko that had been featured in
‘Tribute to Teen-agers’ Issue,” the the strip as far back as #1 was his
book would feature the climax of visual interpretation of Spidey’s
Peter’s rivalry with class bully “Spider Sense” which was depicted
Flash Thompson, Spider-Man’s by halving Peter Parker’s face
fight with a mobile computer run with a symbolic Spider-Man
amok (which looked hopelessly mask while including radiating
archaic even for 1964, but then that force lines from the other half.
was part of the charm of Ditko’s Original? Yes. But surprisingly
artwork in that it often seemed as No doubt Lee had in mind such
television stars as wally and the misunderstood by some readers.
if his strips were caught in a time beav, the ideal of the American Using the device ended soon
warp frozen in the 1950s!) and a teenager, when he dedicated after Ditko left the strip.
back-up feature (the last time the Amazing Spider-Man #8 as a
Spider-Man book would ever be special “tribute to teenagers
divided into separate stories) issue.”

Marvel Book B:Marvel Book 8/20/09 2:06 PM Page 57
Part II
The Years of Consolidation
A lthough editor Stan Lee had made a start in his attempt by Lee to tie his growing universe closer
new approach to super-heroes, Marvel’s early, together, to develop its own internal consistency and to
formative years had still been marked by a give it a semblance of verisimilitude. To do that, Lee
faltering sense of experimentation, without firm employed a number of literary tools, including the
pattern or purpose. The seeds, crossover and the continued story.
however, had definitely been planted With their reliance on multi-issue
for the full flowering of the Marvel stories that sometimes went on for a
style that would bloom in the later, year or more, continued stories
grandiose years. But what about the would become a hallmark of the
two years or so that separated those later grandiose years, but they had
epochs? Those years would be filled their start during the years of
by an era of consolidation during consolidation when more modest
which Lee considered what had two-part stories were the norm.
already been accomplished and Also important in these years were
began a conscious effort to adapt the the more elusive elements of fun
new style not only to existing titles, and excitement which Lee’s
but to new ones specifically created writing, honed over years of
for that purpose. And so, it was scripting everything from teen
during these years of consolidation humor to adventure comics, put
that Lee and his stable of artists, across with breezy effortlessness.
particularly Jack Kirby and Steve Making all this easier was the fact
Ditko, began to actively exploit the that Lee took upon himself the
disparate elements that had defined scripting for all the super-hero titles
Something to smile about: as
the nascent, but increasingly the years of consolidation and in the process, found a way to
popular Marvel style and to began, sales were picking up simply have fun with the universe
deliberately weave them into a and Lee began a deliberate he and his artists had created.
coherent “universe.” What especially process of fitting the pieces Artists like Jack Kirby and
characterized these years of of a growing super-hero Steve Ditko, whose close working
universe together.
consolidation? Mostly the deliberate relationship with Lee became
The Years of Consolidation 57

increasingly important as the years of consolidation pencil layouts dashed off by Kirby as guides until they
progressed, took easily to a less traditional way of caught the hang of it. At the same time, Kirby became
producing comics that involved working from an Lee’s utility infielder, in on the developmental stages
outline or synopsis supplied by the writer and plotting of almost every new feature, designing costumes or
and adding details to the story as they drew. Dialogue dreaming up powers, doing cover roughs and correc-
and captions would be added only after the art was tions when he was in the office, penciling the first few
finished. Later called the “Marvel method,” it was really issues of new features before they were continued under
nothing new (Lee had used it now and then in earlier other artists and drawing the covers to virtually every
years); what was different was its broad application on book in the line-up (even the westerns) when he wasn’t.
so many different titles at once. By working in this Adding uniformity to Kirby’s pencils (especially on
fashion, Lee could write every book in Marvel’s all those covers) and the whole Marvel line during the
burgeoning lineup of super-hero titles; at the same time, years of consolidation was Chic Stone. Although artist
being editor, he could also maintain an unusual Dick Ayers had been frequently assigned to ink Kirby
consistency and quality control. While some artists in the early years, Stone would become the first of a
would find it difficult if not impossible to adapt to the new group of regular inkers whose own individual
new operation, for artists such as Kirby and Ditko, the styles would interpret Kirby’s work in different ways
method brought out inherent talents for creativity that that became somehow appropriate for whatever book
would have remained bottled up using full scripts. he and the inker were working on; examples include
Their success with the Marvel method soon granted such team-ups as Kirby and Vince Colletta on Thor,
them a kind of superstardom and eventually they were Kirby and Joe Sinnott on the Fantastic Four, and Kirby
credited as co-plotters in the books they produced with and Syd Shores on Captain America. But before Colletta,
Lee, an unusual concession in the comics industry. Sinnott and Shores, there would be Stone, whose
Kirby in particular, was much in demand by Lee not simple but firm brush strokes were the first to present
only for his plotting skills, but his action-oriented Kirby’s pencils in their best light across the board. Also
compositions which were considered part of the contributing to the look of the years of consolidation
formula for Marvel’s success. Consequently, other was colorist Stan Goldberg whose off-centered color
artists were asked either to infuse the same kind of separations and rich gradations that had blues
dynamism into their work or complete very simple darkening to purple and reds to maroons, made
Marvel’s covers easily recognizable
from the flat, overly bright, two-
dimensional presentations of its
competitors.
But as new books were added
to Marvel’s list of titles, including
Sgt. Fury and His Howling
Commandos, Avengers and X-Men,
each of which were launched with
Kirby’s full pencils, the artist was
finding himself with less and less
time on his hands. Ditko and Heck
could pick up some of the slack,
but neither was as speedy as Kirby,
and as the years of consolidation

ended, Lee began casting about
for new talent. Bringing in such
veterans as Jack Sparling, John
Severin, Alex Toth, Bill Everett and
Werner Roth, he soon discovered
that most could not, or would not
By the time the years of consolidation rolled around, adapt to the Marvel style and left
the nascent Marvel universe had expanded such that annuals after only short stints. In the end,
dedicated to specific characters could feature entire rogues’ Lee had to go all the way back to
galleries of colorful villains or necessitate reprinting a
the days when Timely/Atlas was
complete slate of origin stories to bring new fans up to date.
riding high to recruit the next wave

of artists who would not only stay Tales to Astonish #49

on, but blossom in unimagined “The Birth of Giant-Man”; Stan Lee (script), Jack Kirby (pencils),
ways under the company’s new Don Heck (inks)
Marvel aegis. Cover: Don Heck (pencils & inks)
And just as the number of titles Jack Kirby and fellow artist Don Heck kicked off the years of consolidation
was getting too large for Kirby, by teaming up to produce Tales to Astonish #49 (Nov. 1963), in which Lee
Ditko and Heck to manage, so too converts Ant-Man into a completely different super-hero by adding two
was it for the line’s single writer. letters to his name. And so, in less than three pages, Ant-Man became
Although early on, Lee had farmed Giant-Man! The augmentation in the character’s powers was an obvious
out some of the scripting chores to
brother Larry Lieber and other old
time Timely/Atlas stalwarts, what
he needed was a good staff writer
whom he could groom to take
over some of the line’s lesser
titles. But until Roy
Thomas walked in
the door at the tail
end of the years
of consolidation, he
would have to make
do with the others
whom he slowly
began to marginal-
ize in the company’s
westerns and teen
humor titles.
Although the years of consolida-
tion conveyed the impression that
Lee and his artists were still flying
by the seat of their collective pants,
making things up as they went
along, caught up in the increasing
pace of climbing circulation figures,
a new self-consciousness was also
taking hold, one that would allow
Lee to pull up on the reins enough
to get things under control and
pointed in the right direction. But to
continue the analogy, the horse was
out of the barn and even though
it might be kept from veering
from side to side, its momentum
continued as strongly as ever,
carrying the company into strange

new territories of the imagination
that would only be fully revealed
in the later, grandiose years.
And the beneficiary of it all was a
young but enthralled readership
who would grow up with Marvel
comics and with whom Marvel, Tales to Astonish #49, page 15. Kirby’s use of big quarter page
panels on this page have the effect of putting the reader into the
and particularly Stan Lee, would
center of the action.
increasingly identify.

attempt by Lee to jazz up a faltering character and as penciler, especially on page 15 where Kirby uses big,
usual, Kirby was called in to jumpstart the strip. Heck, quarter-page panels to have Giant-Man lassoing alien
who up until now, had been the regular penciler, aircraft from the top of a skyscraper! Lee comes up with
remained as inker. Giant-Man however, hardly has a totally unpretentious plot that the artists just have a
time to get used to his new powers before the “Living ball working on. Truly, an unsung classic!
Eraser” shows up. It seems the denizens of the
dimension from which the Eraser has come have Tales to Astonish #50
learned of Earth’s atomic bomb and would like one for “The Human Top”; Stan Lee (script), Jack Kirby (pen-
themselves. Using a transporting device that simulates cils), Steve Ditko (inks)
“erasing,” the Eraser kidnaps Earth scientists, including Cover: Jack Kirby (pencils), Sol Brodsky (inks)
Henry Pym, in order to force them to build a bomb for Replacing Heck on the inking chores in Tales to Astonish
his masters. Pym slips away to become Giant-Man and #50 (Dec. 1963) (the first issue following Ant-Man’s
readers are treated to a fantastic, no holds barred fight change to Giant-Man) with Steve Ditko, Lee and Kirby
where Kirby lets out all the stops. Throughout, Heck’s followed the origin story of Giant-Man from the issue
delicate inks perfectly complement Kirby’s pencils, before by moving immediately into a “novel length”
proof perhaps that he was an even better inker than two-part story featuring a new villain called the Human
Top (who proved to be an early mutant). It was such
things as Marvel’s depiction of a super-hero, unused to
his new found powers, stumbling about the city,
making a public fool of himself, that separated the
company from its competitors. Marvel’s heroes were
still human beings, and it was such a formula that Lee
tried to infuse into the “Giant-Man” strip that it had been
lacking before. Consequently, readers had a chance to
see the heroic Giant-Man crashing through the city,
smashing through fences, knocking down signs and
running into lamp posts as the Top scampers just out of
reach, taunting him unmercifully. Finally, tiring of
the game, the Top just takes off, leaving a defeated
Giant-Man in his wake. Lee has succeeded in making
the hero, despite his power, a sympathetic character in
the mind of the reader. And as the issue draws to a
close, we see Giant-Man desperately practicing to
catch a giant mechanical top in preparation for his
next encounter with its human counterpart. But
unbeknownst to him, the sympathetic Wasp has set
the device to only half-speed, how can Giant-Man
possibly beat the Top? Tune in next issue to find out!
Tales to Astonish #51

“Showdown with the Human Top”; Stan Lee (script),
Cover: Jack Kirby (pencils), George Roussos (inks)
Tales to Astonish #51 (Jan. 1964) begins with a nice Kirby
action cover highlighted in bright purples and greens
(with the artist’s increasingly hectic schedule no
Green Giant Comics #1. Irrevocable proof that
not every idea for a super-hero character is an
doubt the reason for numerous errors in Giant-Man’s
original one. Characters could have the same costume). Dick Ayers replaces Ditko’s inking of Kirby
powers, but to endure, they had to be as the contest between Giant-Man and the Human Top
interesting out of costume too and have a cast continues from the previous issue. Once again,
of supporting characters who could play up their Giant-Man manages to catch up with the Top, only to
foibles. Notwith-standing the Wasp, it was
again fall prey to his own giant size. The interesting
something Lee failed to develop for the “Giant-
Man” strip. contrast in super-powers impresses itself on our hero as
he realizes that it will take more than brute strength to
defeat his opponent. When next the Top appears, a Avengers #3

section of the city is closed off and evacuated, trapping “The Avengers Meet... Sub-Mariner!”; Stan Lee (script),
the villain inside a cordoned-off area with Giant-Man. Jack Kirby (pencils), Paul Reinman (inks)
Then follows a fun-filled three-page chase sequence Cover: Jack Kirby (pencils), Paul Reinman (inks)
that ends with Giant-Man finally corralling the Top. Was it a continued story within a continued story or the
One of the earliest examples of the two-part story, what first multi-title crossover in comics’ history? Whatever
made Astonish #s 50 and 51 distinctive, was Lee’s it was, the earliest struggle between the Hulk and the
willingness to take a chance with the magazine rest of Marvel’s heroes presents the perfect example not
distribution system as it existed in the early 1960s. only of a key element of the years of consolidation,
Before the rise of the comic book specialty shop and the but of the possibilities inherent in a shared comic book
direct market in the late universe. And although
1970s (which ensured that having a single writer/
comic shops could carry editor and artist in charge
every title without fail), of a limited number of
the way magazines were titles would make it
distributed was a easy to juggle so many
haphazard affair, characters at once, it’s
especially for comic books. more than likely that at
Comics, because of their this early stage, neither
low cover price, presented Stan Lee nor Jack Kirby
stores with an unusually had quite planned the way
narrow profit margin, this story would eventual-
much smaller than that ly turn out. Okay, now pay
for regular magazines. attention: It begins in
Consequently, store Avengers #3, side-tracks
owners with only limited into Journey into Mystery
shelf space, if given the Leakage from the early years continued with #112, continues in Avengers
choice, would rather put Kirby (left) continuing to be inked by Paul
#4, picks up again in
up a $1 copy of Life Reinman (right) on the Avengers and X-Men.
Soon, however, a measure of uniformity would Fantastic Four #s 25 and 26
magazine rather than a 12- take hold with the heavier but slicker work of and concludes in Avengers
cent Fantastic Four. As a Chic Stone who would become Kirby’s default #5. Got that? Now to
result, for a kid in the inker. confuse things even
1960s, seeking out his further, the story actually
favorite comics became a time-consuming adventure. has its real beginning at the end of Avengers #2,
Riding his trusty Schwinn from store to store, if he was following the team’s defeat of the villainous Space
lucky, he might be able to find all the titles he was Phantom, when the Hulk realizes that his teammates
expecting to be on sale for that particular week. don’t really trust him. Never having quite fit in with the
Sometimes there were books he’d never find, leaving group, the short-tempered Hulk quits, leaving the
him forever wondering how Thor managed to get his others wondering when and how he’ll strike next.
hammer back from the Cobra and Mr. Hyde or how Now, if a reader’s taste ran to “bludgeoning battle”
Iron Man escaped from the clutches of the Mandarin. issues, then they couldn’t possibly go wrong with “The
And so, it’s easy to understand why publishers Avengers Meet... the Sub-Mariner” in Avengers #3 (Jan.
generally shied away from running continued 1964). Here, Kirby’s art transcends Paul Reinman’s
stories and how chancy it was for Lee to try it, uninspired inks as he and Lee craft a 25-page story that
especially with a line of books that was still seems much longer about Iron Man, Thor, Giant-Man
struggling to get out from under the shadow of its and the Wasp as they combat the Sub-Mariner, who’s
giant rival, DC (who also happened to control their managed to coerce the Hulk into joining his campaign
distribution). But the early attempts by Lee to sell to conquer the human race. The Avengers begin their
continued stories must’ve proven successful, because search for the Hulk by visiting almost every super-hero
not only did they become more prolific as the years of in the Marvel universe, seeking information on the
consolidation continued, but by the time of the whereabouts of their wayward member before moving
grandiose years, whole series such as the Fantastic Four west for their first round of action. The
and Thor would turn into virtual serials, going on confrontation is inconclusive until they meet the Hulk
almost endlessly for months, even years, at a time. again in the bowels of the Rock of Gibraltar. There, the
Avengers finally come to grips not only with the Hulk but also with his Journey Into Mystery #112
new ally, the Sub-Mariner. In the ensuing mayhem, battle is joined as both “The Mighty Thor Battles the
sides take advantage of a variety of left-over World War II military Incredible Hulk”; Stan Lee (script),
hardware to keep their foes at bay. As usual in these circumstances, nothing Jack Kirby (pencils),
is decided as a stalemate forces both parties to break off the action. But Chic Stone (inks)
“The Coming of Loki!”;
that’s not the end of this story, not by a long shot! The Avengers continue Stan Lee (script), Jack Kirby
their pursuit of the Sub-Mariner in their next issue and of the Hulk in FF #25. (pencils), Vince Colletta (inks)
Chic Stone (inks)
This next entry is actually a
retroactive chapter in the
Av e n g e r s / H u l k
storyline, because
Journey Into Mystery
#112 (Jan. 1965)
appeared nearly a
year following the
conclusion of the
events in Avengers
#3. Billed as “The
Epic Battle of the
Age” (and featuring
page after page of action as Thor
dukes it out with an enraged Hulk
deep beneath the Rock of
Gibraltar, who’s to argue?), the
story is recounted by Thor in order
to help settle a debate between two
groups of kids he finds arguing
over who was stronger, the
thunder god or the Hulk (not
coincidentally, the same argument
that had been raging among
Marvel’s readers for months). As
Thor tells it, he and the Hulk were
separated during the events of
Avengers #3 and ended up
conducting a private match
between themselves before finding
their way back to their teammates.
With crossovers like this, Lee and
Kirby were able to draw the
elements of their growing universe

of heroes closer together while
creating in their readers’ minds a
greater sense of its realism. In
addition, they provided a solid
base on which to build more
complex stories in the future. And
Journey Into Mystery #112, page 10. Chic Stone had been
just who turned out to be the
inking over Kirby’s pencils since Journey Into Mystery #102. This
power-packed page is a good example of how Stone’s clean lines strongest, Thor or the Hulk? That
served both to preserve essential details while giving weight to would be telling! But wait! That’s
Kirby’s figures. not all frantic fans would find in

this great comic! Anyone would think that with a

titanic match such as that between Thor and the
Hulk, anything else would have to be squeezed out of
the book for sheer lack of room, but not so. This issue
also comes with the usual “Tales of Asgard” back-up
strip, this time featuring the boyhoods of Thor and
Loki! A sure-fire attention grabber for any youthful
reader, this issue’s installment is called “The
Coming of Loki” and tells the tale of Odin’s defeat of
Laufey, king of Jotunheim and his subsequent and
fateful adoption of the suddenly orphaned Loki.
Avengers #4
“Captain America Joins...The Avengers!”;
George Roussos [as George Bell] (inks)
Most references to Avengers #4 (March 1964) quite
rightly point out that it features the first appearance
of Captain America in the Silver Age, and certainly
that event alone has to put this issue on the map, but
what accounts never mention is that this story is also
a direct sequel to the action in the previous issue.
It begins in the North Atlantic as a frustrated Sub-
Mariner, enraged at his defeat by the Avengers in the
previous issue, comes across a group of Eskimos as
they worship a dim figure trapped in a block of ice.
Tactless as usual, Namor seizes the chunk of ice and
hurls it far out to sea. Just by coincidence, the
Avengers discover it as they return from the Rock of Pep Comics #1. Although the Shield never had
Gibraltar and haul in the figure that has now been the chance to make a splashy comeback the way
freed from the ice. To their amazement, they discover Cap did in Avengers #4, he did have the
that it is the body of the long-vanished Captain distinction of making his initial debut more
America! The surprised heroes react with predictable than a year before Cap’s introduction in Captain
America Comics #1!
disbelief and wonder before eagerly accepting the
sentinel of liberty into their ranks. (The Avengers
didn’t like to waste time!) Back in New York, as Cap Fantastic Four #25
catches up with twenty years of history, his new “The Hulk Vs. The Thing”; Stan Lee (script), Jack Kirby
teammates are turned to stone by a strange alien (pencils), George Roussos [as George Bell] (inks)
creature in the thrall of local gangsters (don’t ask!).
The implausible situation is resolved by Cap in his The story in Fantastic Four #25 (April 1964) was billed as
first adventure, and when the Avengers are freed, “The Battle of the Century” and that description looks
they agree to help the alien raise his space ship from to have been accurate (for the 20th century that is).
the bottom of the sea. See the connection now? This Following immediately upon the events of Avengers #4,
is where the Sub-Mariner once more enters the picture! this issue and the next neatly divide the plot into two
He and his undersea legions attack the Avengers distinct chapters. In the first, the concentration is on the
and battle to the predictable stalemate when the first real knock down, drag ’em out fight between the
sea prince takes advantage of the ground breaking Thing and the Hulk who, at the time, were two of the
up beneath his feet to declare victory and return to three powerhouse super-heroes at Marvel (the other
the depths. But ominously, the final panels of the being Thor). The two characters met briefly in FF #12,
story show a despondent Rick Jones wondering but that was before the full development of the Marvel
what the Hulk will do once he finds out the boy he style. The action begins when the Hulk, still on the run
rescued from certain death has thrown him over from events in the previous month’s Avengers #3,
for Captain America! decides to face his teammates in New York. Meanwhile,

we see that the Avengers (who, no doubt to Namor’s

disappointment, have obviously survived the events
in their own book) and the U.S. Army are both close
on his trail. In New York, Reed Richards has been
hospitalized due to sickness, with the Invisible Girl
at his bedside, and when the Hulk is sighted in the
city, it’s up to the Torch and the Thing to tackle him
alone. Soon, however, an inexperienced Human
Torch is knocked out of action clearing the decks for
page after page of bludgeoning battle between the
Hulk and the Thing! Rising to the occasion, Kirby
proves here beyond a doubt why fans have always
considered him the action king! Through the whole
story, despite Paul Reinman’s inadequate inks,
Kirby’s pacing shines in a choreography of shattered
buildings and exploding machinery. Even Marvel’s
High art and pop-art met head-on as acclaimed
penchant for using dull greens, browns and grays in
artists Roy Lichtenstein and Andy Warhol used
these early books only seemed to augment the comics to breach the barrier between pop-
drama of Lee’s breathless scripting to produce a culture and a more academic definition of art.
wild roller coaster of a comic book that never lets go
of the reader from first page to last.
Avengers #5
Fantastic Four #26 “The Invasion of the Lava Men!”; Stan Lee (script),
“The Avengers Take Over”; Stan Lee (script), Jack Kirby Jack Kirby (pencils), Paul Reinman (inks)
(pencils), George Roussos [as George Bell] (inks) Cover: Jack Kirby (pencils), Sol Brodsky (inks)
Cover: Jack Kirby (pencils), Sol Brodsky (inks) Acting as a kind of epilogue to the epochal events
With a single person writing and editing the entire line, of the previous issues, Avengers #5 (May 1964) opens
it was possible for Marvel to squeeze almost its entire as the team returns to its mansion headquarters in
stable of heroes into a single book, which is exactly New York to survey the damage done to it when
what happened in Fantastic Four #26 (May 1964) where the Hulk had kidnapped Rick Jones in FF #26. The
“The Avengers Take Over!” From its inventive, colorful Avengers disperse to pursue their private interests
cover, to its final panel, this particular issue epitomized but are soon summoned together again by Thor
everything Marvel was doing to make itself so popular. after he learns of a mysterious, growing hill (!) in
Continued from the issue before, New York is in a state the American Southwest. As every Marvelite
of siege with martial law declared and a portion of the knew by then, the desert was the stomping
city where the Thing and Hulk continue to battle sealed grounds of the Hulk and in no time the green
off. Finally, the Hulk manages to slip away from the goliath makes the scene and is attacked by his former
Thing and make his way to Avengers Mansion where teammates. (Well, actually, he shows up only after
he confronts his former teammates and Kirby does the about ten pages of prime Kirby action in which
impossible by having him overcome the Avengers in we discover that the hill in question isn’t a hill at
the space of only two panels before escaping with all, but a weirdly growing stone being thrust to
Rick Jones! In hot pursuit, the Avengers and the the earth’s surface by the race of lava men first
reconstituted FF meet for the first time and, not without encountered by Thor in Journey Into Mystery #97!)
some friction, join forces. Once again, Kirby packs so Soon, however, the Avengers realize that the
much action in 22 pages, it’s a wonder even today how Hulk’s strength is the only thing that can prevent
he was able to give each hero a turn in the spotlight. the stone from exploding and “taking half the
Besides being one of the earliest instances of a planet with it!” It’s then left to Giant-Man to lure
continued story at Marvel, this issue also included the the Hulk into the proper position to strike the
first crossover of the company’s two major super-teams stone in just the right spot, causing an implosion
and the first of many classic one-on-one face-offs rather than an explosion. The plan works, but the
between hero and villain. Written by Lee with force of the implosion causes the Hulk to revert
many instances of drama, humor and coordination back to his human identity of Bruce Banner, leaving
with events happening in other titles, this book is a the Avengers out in the cold in their efforts to find
landmark any way you look at it! and help their former teammate. Thus ended

Bill Everett
Best known for the creation of the Sub-Mariner in 1939, Bill
Everett spent most of his comics career working for Martin
Goodman, first when the publisher’s company sported the Timely
label, then Atlas, then Marvel. After serving in the Army during
World War II, Everett came back to comics where he worked on Stan
Lee’s first attempt to revive Captain America and the Human Torch in the
1950s as well as other features before being asked to draw the first issue of
Daredevil. Problems arose almost immediately as Everett struggled to meet
deadlines, and what resulted was a team effort that included Jack Kirby doing
the cover and Steve Ditko and others inking and finishing backgrounds.
Even the book’s splash page ended up being cobbled together by the production
department. Although the work he did turn in was great, Everett’s problem with
deadlines prevented him from picking up the strip on a regular basis.
Marvel’s first extended/continued/multi-title crossover.

Was it planned from the start by Lee and Kirby or were
they making it all up as they went along? It’s hard to
say so many years later, but one thing’s for sure: it
helped the two men become more aware of the story
possibilities in the interconnected world they were
building, the essence of the years of consolidation.
Daredevil #1
“The Origin of Daredevil”; Stan Lee (script),
Bill Everett (pencils), Bill Everett (inks),
Steve Ditko (inks), Sol Brodsky (inks)
Cover: Jack Kirby (pencils), Bill Everett (inks)
One aspect of the years of consolidation was a growing
realization by editor Stan Lee that the elements he’d
begun using unselfconsciously in the early, formative
years could also be used deliberately to create new
characters and storylines. The increasing use of
crossovers and continued stories demonstrated the
application of the concepts to plotting, while the creation
of Daredevil showed how they could be used to define
completely new characters. The launch of X-Men late
in 1963 saw Lee applying the concept of the flawed
hero to a whole team of characters and the appearance of
(Here Comes) Daredevil (The Man Without Fear) #1 (April
1964) almost six months later (the last of Marvel’s
great Silver Age creations) did the same for a single
character. But in Daredevil, there would be a reversal Daredevil #3. Any similarity between this
of expectations: far from demanding reader sympathy Daredevil and the man without fear
for the character’s affliction (in this case, blindness) Marvel fans learned to know and love
was purely accidental!
DD’s unabashed exuberance and undisguised joy at being


in loosely connected stories that suggested little

Daredevil #1, page 6 (opposite page). This advance planning by the creative team. Here, Magneto,
dynamic action sequence by Bill Everett shows
why he was one of the few artists who didn’t
“most powerful of the evil mutants,” makes his second
need training wheels in order to draw comics appearance along with a new group of villains that
the Marvel way! included the servile Toad, the venal Mastermind and
siblings Quicksilver and the Scarlet Witch. Whether
a costumed hero had the effect of making fans happy intended to or not, Quicksilver and the Scarlet Witch
for him! So much so, that when Lee tried to show our (who were portrayed right from the start as reluctant
hero’s reluctance to make a play for his pretty secretary warriors on the side of Magneto) quickly became
for fear of saddling her with a boyfriend who had a sympathetic characters whom readers very early on
handicap, no one believed it. Unlike Spider-Man, who suggested defect from Magneto’s band to join the X-
was a teenager unsure of himself, still trying to figure Men. It seems that because Magneto had rescued
things out, DD was an adult who should have Wanda, the Scarlet Witch, from a superstitious mob
already left his youthful insecurities behind him. In somewhere in central Europe, she and her brother
ironic contrast then, when readers saw DD racing considered themselves in his debt. Aware of their desire
along high tension wires or balancing himself a hundred to leave his band as soon as they felt that debt paid,
stories from the ground, they could hardly be expected Magneto tries to indoctrinate them with his philosophy:
to believe that this “man without fear” was at all wary “We are homo superior! We are born to rule the earth!
of expressing his hidden feelings. Helping Lee bring The humans must be our slaves! They are our natural
DD to life in this first issue was veteran artist Bill enemies…and together, with our super-human
Everett, a contemporary of Kirby’s who’d worked for powers, we can conquer them all!” “Why should we
Marvel in the 1940s. Everett’s main claim to fame was love the homo sapiens?? They hate us…fear us because
his creation of the Sub-Mariner, one of the company’s of our superior power!” Magneto was the third and
three most successful characters of the Golden Age (the final of Marvel’s triumvirate of great villains, but more
others being Captain America and the Human Torch). than Dr. Doom and the Red Skull, his was the clearest,
Absent from the company for many years and with a most reasonable argument for his villainy: however
style that sometimes made for an uncomfortable fit in twisted by his own gigantic ego, he considered himself
the new action-oriented Marvel comics, Everett was not the villain, but the hero in a struggle for the
nonetheless invited back by Lee to do the art chores on freedom of an oppressed people. And so the contest
the new Daredevil strip. Everett’s old- between the Brotherhood and the
fashioned style however, proved X-Men became one of ideology rather
surprisingly appropriate for Daredevil, than profit, or revenge or meaningless
lending the strip a street-level power. For that reason, the first eleven
quality necessary for a feature issues of the X-Men title seemed to be
whose hero (in his bright yellow and the chronicle of a single, extended tug
red costume) would spend most of of war between the two sides as each
his time running down petty crooks coalesced into mutually antagonistic
and organized crime figures. groups, constantly vying with each
other to win the hearts and minds of
X-Men #4 potential new recruits.
“The Brotherhood of Evil Mutants!”;
Stan Lee (script), Jack Kirby (pencils), Sgt. Fury and His Howling
Paul Reinman (inks) Commandos #6
Cover: Jack Kirby (pencils), “The Fangs of the Desert Fox”;
George Roussos (inks) Stan Lee (script), Jack Kirby (pencils),
George Roussos (inks)
Beneath one of Kirby’s most impres- Cover: Jack Kirby (pencils),
sive symbolic covers (enhanced by a Stan Lee in the army George Roussos (inks)
vibrant color scheme that Marvel did during World War II.
better than anybody else in those Seeing only stateside
Although such serious topics as the
days), X-Men #4 continued the pattern action, his stint in the environment, drug abuse, campus
set by Avengers #3-5 in that the next service was nevertheless unrest and the war in Vietnam
few issues of the book would all the only real break from were topics to be treated almost
the comics industry Stan exclusively in Marvel’s grandiose
feature the same villains (Magneto ever had.
and his Brotherhood of Evil Mutants) phase, there was one socially

relevant theme that Lee had already touched upon Howling Commandos #6 (March 1964), “The Fangs of
in earlier western and fantasy tales that he seemed the Fox!”, Lee made his move. Here, at last, was a
inclined not to wait upon. Years before, while story that addressed the issue of race that had been
serving in the military, Lee had been assigned to implicit in the title for months as George Stonewell
create teaching materials for soldiers in the form of replaces an injured Dino Manelli. Right off the bat,
comic strips. Recalling that experience, Lee became however, the reader is signaled that not all is well
convinced that regular commercial comics could be with Stonewell as he shows disdain for the team’s
used just as effectively for instruction as it could for Italian and Jewish members and downright prejudice
entertainment. Biding his time, Lee used the first toward Jones. “You’re Jones!! No! I’m not sleepin’ in
few issues of the new Sgt. Fury book to tell straight- these barracks!” Then Fury proclaims what the
ahead action stories, avoiding calling any special readers had probably been thinking all along:
attention to Gabriel Jones’ skin color (Lee had boldly “You’re a 14-carat, dyed-in-the-wool, low down
broken with the historical facts of military bigot!” “You so much as look cross-eyed at Izzy, or
segregation in force during World War II by Gabe, or anyone because of his race or color, and I’ll
including a black man in a white combat unit). In make ya wish you were never born!” “Rats like him
the meantime, headlines in the early 1960s were aren’t on any side! They just crawl outta the mud
dominated by the national struggle over civil rights long enough to poison whatever they touch!” And
then being waged by men like Martin Luther King so, the Howlers are sent on a deadly mission to stop
and punctuated by such landmark court decisions as German Gen. Erwin Rommel as tensions continue to
Brown vs Board of Education, news that Lee could mount among the squad members. At one point a
hardly have missed. Then, in Sgt. Fury and His captured Nazi, sympathizing with Stonewell, tells
him, “…We do not allow inferior races to mingle
with us…to be part of our culture!” But where
others before and since would’ve portrayed
Stonewell in unrealistic black-and-white terms, Lee
skillfully, more realistically, gives the character
patches of gray as he performs his duty as heroically
as any of the Howlers even as he continues to reject
some of them for their ethnicity. At last, after saving
Izzy’s life, Izzy returns the favor by saving
Stonewell, and in the story’s denouement Stonewell
is kept alive due to a transfusion of blood from
Jones. Unlike other writers who would’ve had
Stonewell either be killed off for his sins or get
over all of his earlier prejudices, Lee allows the
character’s feelings to remain ambiguous with Fury
delivering the final lines: “The seeds of prejudice,
which takes a lifetime to grow, can’t be stamped
out overnight…but if we keep trying…keep fighting
…perhaps a day will come when ‘love thy brother’
will be more than just an expression we hear in
church!” The subject of racism was somewhat risky
since most publishers at the time feared loss of sales
should America’s South react negatively to it, so it
showed some courage on Lee’s part (and perhaps
publisher Martin Goodman’s) to go ahead with the
story. In any case, this issue will always stand not
only as an early example of the many other socially
relevant stories the company would tackle in later
years, but as a monument to Lee and Kirby’s
Martin Luther King, Jr. led the historic march
on Washington for jobs and freedom where he
courage in bucking the gentrified expectations of a
helped put race relations in the United States medium that had grown increasingly skittish since its
at the forefront of the national consciousness. beginning twenty-five years before.

Strange Tales #120 yellow background and

“The Torch Meets Iceman!”; Stan Lee (co-plot, dialogue), heavy Chic Stone inks,
Jack Kirby (co-plot & pencils), Dick Ayers (inks) Journey Into Mystery #105
“The House of Shadows!”; Stan Lee (dialogue), Steve (Jan. 1965) featured the
Ditko (plot, pencils & Inks) first part of another
Marvel continued story
Beyond the occasional serious theme, the most classic. From its opening
important aspect of the years of consolidation was still scene with the Avengers,
that of just having fun! Take Strange Tales #120 (May to Thor’s quick encounter
1964) for instance. The Human Torch had been starring with the Cobra, through
in the book ever since issue #101, and although the the creation of Cobra and
stories were good, they were for the most part Mr. Hyde’s historic
unspectacular (even with Lee and Kirby teaming up on alliance (an unlikely
the early ones). The book had become interesting on combination of villainous
a more regular basis only when “Dr. Strange” took talent that has since gone
over as its permanent second feature. But with the Chic Stone’s inking unquestioned), on into
right vehicle, the “Torch” stories could be as appealing style over Kirby’s Thor’s showdown with
as anything else Lee and Kirby put their minds to. It pencils became the the two at a local machine
happened with issue #114 when the Torch seemed to be “look” of Marvel show, the action moves
Comics during
fighting Captain America for about 10 pages and it along at a swift, but
the years of
happened again in this issue when the Torch meets consolidation when beautifully choreographed
Iceman. The idea of a team-up between the “teenage the company’s pace. The combination of
masters of heat and cold” must have seemed a characters began to Lee’s smooth scripting
natural right from the beginning when Iceman was break out into and Kirby’s instinctive
first introduced with X-Men #1. And it sure doesn’t related media such talent for storytelling
as T-shirts and
take long for the action to start as Iceman and the Torch stationary.
carries the reader
fight river pirate Barracuda and his crew (a Hudson effortlessly from panel to
River pirate yet!) aboard a cruise liner loaded with panel. And it’s fun too, as
“swingin’ teens!” Don’t think a simple pirate can be a Cobra and Mr. Hyde corner Dr. Blake in his office and
challenge for the two super-powered heroes? Think get tricked into allowing him to transform into Thor
again, as the clever Barracuda comes up with at least a behind their backs. But leading Thor to a nearby
half-dozen ways to put Iceman and the Torch out of machine show, the villains very cleverly relieve him of
action (including the use of canvas, gasoline and simple his enchanted hammer (which, as everyone knew, no
water). The issue is rounded out with an early tale of human being can lift) with the use of an industrial
Dr. Strange as Lee and Ditko take him into “The House grappler! The hammer is deposited somewhere within
of Shadows.” In it, Strange investigates a haunted the bowels of the machine and the issue ends with
house that turns out to be a creature from another Thor facing the Cobra and Hyde with only seconds
dimension that has only disguised itself as a house! remaining before reverting back to his human identity!
And just look at what else was coming out the same Can he defeat them and retrieve his hammer before
month: Fantastic Four #26, “The Avengers Take Over!”; his time is up? Imagine how long a month could be
Amazing Spider-Man #12, “Unmasked by Dr. Octopus!”; until the next issue came out! By the way, this issue
Avengers #5, “Invasion of the Lava Men”; and Tales to also includes the self-contained “Tales of Asgard”
Astonish #55, “On the Trail of the Human Top!” If installment of “When Heimdall Failed!”
action, excitement, thrills, fantasy and especially fun
was what a reader was looking for, Marvel sure had Journey Into Mystery #106
it in spades! “The Thunder God Strikes Back!”; Stan Lee (script),
Jack Kirby (pencils), Chic Stone (inks)
Journey Into Mystery #105 “Balder the Brave”; Stan Lee (script),
“The Cobra and Mr. Hyde!”; Stan Lee (script), Jack Kirby (pencils), Vince Colletta (inks)
Jack Kirby (pencils), Chic Stone (inks) Cover: Jack Kirby (pencils), Chic Stone (inks)
“When Heimdall Failed!”; Stan Lee (script), Jack Kirby The Lee and Kirby magic continued in Journey Into
(pencils), George Roussos [as George Bell] (inks) Mystery #106 (July 1964) as Thor, deprived of his
Cover: Jack Kirby (pencils), Chic Stone (inks)
hammer, suddenly changes back to his mortal self and
Behind an eye-catching cover by Kirby, with its bright manages to disappear into a crowd of people before

Cobra or Hyde can notice his identity. of consolidation could be found in spades was in the handful of annuals
Using a ploy, Thor, as Dr. Don Blake, released in these years. Jam packed with all kinds of features and spread
tricks Cobra and Hyde into out over 72 pages (for only a quarter yet!), they were frequently used by
retrieving the hammer (now trans- Lee to fill in gaps in the heroes’ careers and to increase the sense of
formed into a mere walking stick) verisimilitude readers were already getting from the company’s frequent
from within the machine. Getting it crossovers and continued stories. Case in point: Fantastic Four Annual #2
back, Thor strikes! Eliminating the
Cobra quickly, he catches up to
Mr. Hyde out in the streets. What
follows is a typical example of what
made Marvel in general and Thor in
particular, such great reading in
those days! The egotistical Hyde,
thinking himself the master of the
thunder god, finally uses up Thor’s
patience. In a final effort to prove to
the haughty Mr. Hyde that he’s no
match for his godly power, Thor puts
aside his hammer and determines
to beat Hyde with
his bare hands in the
space of one minute,
or before he reverts
to his mortal guise.
Who could ever
forget those four
thrilling pages as
Kirby’s power-
packed pencils
complemented Lee’s
thrilling dialogue?
When Hyde says, “Human you call
me? I’ll show you how much more
than human I really am,” and Thor
replies, “What a pity that such
superb strength should be housed
in so evil a body,” it summed up the
whole spirit of the Thor strip and
elevated Marvel’s battles above the
mere slugfests of other comics.
Fantastic Four Annual #2 © 2009 Marvel Characters, Inc.

“The Fantastic Origin of Doctor
Doom!”; Stan Lee (script), Jack
Kirby (pencils), Chic Stone (inks)
“Prisoners of Doctor Doom!”; Stan
Lee (script), Jack Kirby
(pencils), Joe Sinnott (inks) [reprint-
ed from Fantastic Four #5]
“The Final Victory of Doctor
Doom!”; Stan Lee (script), Jack Journey Into Mystery #106, page 14. An early effort by Stone
Kirby (pencils), Chic Stone (inks) again brings out the dynamism of Kirby’s figures in what would
Cover: Jack Kirby (pencils), rapidly become the Marvel “look” during the years of
Sol Brodsky (inks) consolidation. It would be a sad day when Stone eventually left
the company for one of its competitors!
One of the places where the action

(mid-1964) in which the lead off feature didn’t even star

the FF! Instead, readers thrilled to “The Fantastic Origin
of Dr. Doom!” in which they learned for the first time
about Doom’s gypsy heritage, the tragic loss of his
parents, his brilliant achievements in Western
universities and how he came to blame Reed Richards
for the accident that ruined his face. Although Doom’s
retreat to a hidden monastery in the mountains (where
his armor was forged) was far from original, such a
stock event was overshadowed by the three-
dimensional quality Doom’s personality was given in
this story. Now readers had something to latch onto
when next the villain met the FF, which wasn’t long in
coming! When readers finished the villain’s origin
Soviet missiles on parade! The Russian
they flipped through a series of pin-ups and a reprint military presented by no means an idle threat
of the FF’s first meeting with Doom to the back of in the mid-1960s when the Cold War was in
the book where they found a second brand new full swing and parades like this one through
story. Here, in “The Final Victory of Dr. Doom,” Red Square were a regular sight on American
elements detailed in the origin are weaved into the television news broadcasts.
plot as Doom recoils from a look at his face in a mirror
and the FF discover that their enemy, as leader of an the Green Goblin gets so convoluted that when the
independent nation, possesses diplomatic immunity! Hulk stumbles into the action on page 15, he’s almost
Finally, Doom is defeated not by force of arms but by superfluous! But things finally get sorted out when
his own ego! Not the usual way deadly villains were Spidey subdues the Enforcers, the Hulk wanders away
expected to lose a fight! (probably right into his own new feature in Tales to
Astonish #59, which began only a couple months later)
Amazing Spider-Man #14 and the Goblin disappears into anonymity. As usual,
“The Grotesque Adventure of the Green Goblin!”; Spidey gets the short end of the stick when the fine
Stan Lee (Script), Steve Ditko (Pencils), print in his contract prevents his getting any cash
Steve Ditko (Inks) beyond expense money. In the meantime, school rival
Cover: Steve Ditko (pencils), Steve Ditko (inks)
Flash Thompson threatens Peter Parker for beating
The cover said it all: “Does the Green Goblin look cute his time with Liz Allen, girl friend Betty Brant is jealous
to you? Does he make you want to smile? Well, forget and boss J. Jonah Jameson will kill him for coming
it! He’s the most sinister, most dangerous foe Spidey’s back from the movie set without a story!
ever fought!” Did Lee and Ditko have it in mind even
from the Goblin’s first appearance here in Amazing Tales to Astonish #60
Spider-Man #14 (July 1964) to make him Spider-Man’s “The Beasts of Berlin!”; Stan Lee (script),
most persistent enemy, the one to come closest to Dick Ayers (pencils), Paul Reinman (inks)
ending his career for good? Unlike Spider-Man’s “The Incredible Hulk”; Stan Lee (script), Steve Ditko
(pencils), George Roussos [as George Bell] (inks)
other villains, the Green Goblin didn’t come with an
introductory origin or with a ready-made alter ego.
Behind his stretchy fright-mask and strategically placed Maybe the Hulk’s appearance in Amazing Spider-Man
hanging mirror, the Goblin was a complete mystery. #14 was intended as a dry run for Ditko or simply to
Except for his motives of course, which were to remove reintroduce the character to readers in the year or so
Spider-Man from the scene and take over the since his own book was canceled. Whatever the reason,
nation’s underworld (he wasn’t the first villain in the the next month the Hulk guest starred in Tales to
Spider-Man strip nor the last to try for this elusive Astonish #59 battling Giant-Man before appearing in his
plum!). To do it, he poses as the agent of a movie studio own full-blown series the next issue. (Captain America
offering Spider-Man a part in a film that would also star did likewise, debuting in Tales of Suspense #59 the
himself and the Enforcers. But when our hero appears following month). By this time, the strength of the
on the set, it doesn’t take him long to find out he’s been super-hero line had given confidence to Lee and
duped: the Enforcers are the real thing and they’re out publisher Goodman that there was little risk in
to get revenge on Spidey for foiling their last caper in abandoning the fantasy tales that’d still been appearing
issue #10. The plot between Spidey, the Enforcers and in the back of some of their books. Now they were gone

completely and Lee took advantage of the newly available space to Ditko turned the strip into a serial
consolidate his emerging universe. For the year since the cancellation of the with each chapter ending in a
original Hulk book, Lee had been shopping around the character, putting cliffhanger. Reintroducing the
him in the Avengers and having him fight everyone from Thor to the FF to supporting cast from the Hulk’s
Giant-Man until finding a place for him in Tales to Astonish #60 (Oct. 1964). first feature, the two quickly
Billed as “the only comic mag super-hero soap opera in existence,” Lee and established a dynamic among the
characters similar to the formula
that’d made their Spider-Man strip
so successful: Bruce Banner is
suspected of being a communist
sympathizer if not outright spy by
hard-nosed General “Thunderbolt”
Ross; in the meantime, Banner can
hardly control his transformations
into the Hulk and must keep his
emotions constantly in check which
in turn strains his relationship with
Ross’ daughter, Betty. In addition,
the only person on earth who
knows the secret of
the Hulk is teenager
Rick Jones, who
still feels guilty
over having caused
Banner to become
the Hulk in the first
place, and later in
the series, security
officer Glenn Talbot
will join the cast,
putting further
pressure on Banner through his
investigations of the Hulk and
pursuit of Betty’s affections. While
all that’s going on, the Hulk this
issue must also face the challenge of
a powerful robot designed by his
alter ego that’s been stolen by a
Soviet agent. Not to be forgotten
in the front half of the book,
Giant-Man, too, is faced with the
Communist threat as he travels
behind the Iron Curtain to free a

friend from a prison in East Berlin.
But before the two men make it
back to freedom, they must first
destroy a secret “intelligence ray”
the Soviets have invented and have
already used to create a squad of
Tales to Astonish #60, page 15. A more stable Hulk gets his super-smart gorillas! But Giant-
own strip again but this time in a more coherent fashion as Man (with help from Lee and artist
supporting characters, personal problems, and menacing sub-plots Dick Ayers) saves the day and
are played up in cliffhanging chapters that kept readers coming escapes by battering down a section
back for more.
of the Berlin Wall. Great stuff!

the M.M.M.S.
As the popularity of Marvel Comics swelled, it was decided that a good way to harness all that
energy was in the way of a club, sort of like Timely’s old Sentinels of Liberty from the 1940s.
The MMMS (Merry Marvel Marching Society, natch!) was Lee’s first attempt to organize his
new fan base into a club offering all kinds of interesting gear, including stationary and a record
album featuring the voices of the Bullpen gang! The MMMS eventually faded out during the
grandiose years, but Marvelmania, a pale shadow of the legendary club, would take its place at
the end of the decade before crashing and burning amid bad management and lack of interest.
Amazing Spider-Man Annual #1 outings on Spider-Man, Ditko here lets out all the stops
“The Sinister Six!”; Stan Lee (script), offering six full-page action shots of Spider-Man in
Steve Ditko (pencils & inks) action against each member of the Sinister Six (the one
“The Secrets of Spider-Man”; Stan Lee (script), Steve with Electro is the standout!). But beyond the lead story,
Ditko (pencils & inks) the book was filled with such extras as pin-up pages,
“How Stan Lee and Steve Ditko Create Spider-Man!”;
Stan Lee (script), Steve Ditko (pencils & inks) secrets of Spider-Man pages, supporting character
Cover: Steve Ditko (pencils), Steve Ditko (inks) profiles and a self-parodic gem in which Lee and Ditko
fill readers in on how they come up with such great
For giving a reader his money’s worth, there was stories. It was with this last item, “How Stan Lee and
nothing like Marvel’s early annuals! Where the Steve Ditko Create Spider-Man,” in which the creators
competition only gave fans reprints of old stories, poke fun at themselves, let their hair down and give the
Marvel not only offered an extra-long original readers a figurative nudge and wink indicating that it’s
adventure, but all kinds of fun features. A great example all done in good fun, that Marvel began to solidify
of that, and of how Lee in these years was busily its chummy relationship with fans. In effect, Lee was
creating the friendly, familiar atmosphere that would taking readers into his confidence, inviting them in and
soon inspire a fanatical loyalty in his readers, was making them feel part of the Marvel “Bullpen.” It was
Amazing Spider-Man Annual #1 (mid-1964). Of course, a device that would be used again, but also soon to
the star feature of this book was its 41-page extrava- vanish in the wake of such all-parody titles as Not Brand
ganza that included a team-up of every major villain Echh that made poking fun at the company a full-time
our hero had fought in his first year on the job (the occupation. In the meantime, however, Lee would
Vulture, Dr. Octopus, Sandman, Mysterio, Electro and continue to solidify his relationship with the readers
Kraven the Hunter!) as well as cameos by every hero in with other vehicles such as the Bullpen Bulletins page,
the youthful Marvel universe. Besides a fast, fun-filled Stan’s Soapbox, fan clubs like the Merry Marvel
plot, the story served as a wonderful vehicle for Marching Society (MMMS) and the Friends Of Ol’
showcasing Ditko’s growing talent for super-hero Marvel (FOOM) and letters pages that included
slugfests. Coming a long way from his first crude sometimes lengthy personalized replies to fans’ queries.

Tales of Suspense #54 Tales of Suspense #55

“The Mandarin’s Revenge”; “No One Escapes the Mandarin!”; Stan Lee (script),
Stan Lee (script), Don Heck (pencils & inks)
Don Heck (pencils & inks) “All About Iron Man”; Stan Lee (script), Don Heck (pencils & inks)
Cover: Jack Kirby (pencils), “The Sun-Stealer!”; Stan Lee (plot), Larry Lieber (script, pencils & inks)
Chic Stone (inks) Cover: Jack Kirby (pencils), Sol Brodsky (inks)
Tales of Suspense #54 (June 1964), Looking past Kirby’s nifty symbolic cover to the inside of Tales of
Iron Man’s usual hangout, featured
the beginning of a slam-bang
actioner by Lee and artist Don
Heck. Although frequently
maligned, and not without some
justification, Don Heck truly was
a great comic artist; his only
problem was that his window of
greatness doing super-heroes was
a narrow one. Not really cut out to
be a super-hero artist and uncom-
fortable with the Marvel method,
Heck went along with the trend
when the company’s characters
hit it big and eventually made the
“Iron Man” strip his own. In the
beginning, his awkward, scratchy
art style didn’t seem to agree
with his regular assignment, but
gradually he got the hang of it, and
by this period in his run on
Suspense, Heck was really hitting
his stride. Not only did he lose
much of his scratchiness, but he
developed an economy of line
and dynamism of panel-to-panel
continuity that, coupled with Lee’s
smooth scripting, carried the reader
along as effortlessly as Kirby was
doing elsewhere. By the time Heck
left the strip with Tales of Suspense
#72, he’d earned his reputation as
being the Iron Man artist. And this
first installment of yet another
continued story provided him
with plenty of opportunities to
show off as Lee’s breakneck plot
had Tony Stark move quickly from
Washington, D.C. to Vietnam to
China and into the clutches of his
arch-enemy, the evil Mandarin,
who’d been stealing Stark’s
experimental observer missiles in Tales of Suspense #55, pages 1 (above) and 10 (opposite page). By
mid-flight. A battle of course, this time, Iron Man’s armor wasn’t the only thing acting like a
ensues with Iron Man ending up well oiled machine. Lee and Heck had all the elements of the strip
captured, helpless, and at the mercy down to a science including characterization, personal dilemmas,
and action, action, action!
of the evil oriental mastermind!


Suspense #55 (July 1964), the reader is immediately

plunged into the action as Iron Man manages to Journey Into Mystery #109, page 9 (opposite
page). one thing about Marvel was that they
break free of the trap set for him by the Mandarin. liked to mix and match their heroes and
Trailing the villain to where he’s stored missiles villains! readers never knew where villains
stolen from Tony Stark in the previous issue, Iron would show up next, making for interesting
Man destroys the ray machine that had been used to match-ups like Thor vs Magneto!
capture them. Faced with the Mandarin again, Iron
Man then runs a gauntlet of deadly traps until finally come into its own not only with Iron Man,
finally defeating his foe in a hand-to-hand fight. As but also with the relationships between Tony Stark,
an extra bonus, this issue is rounded out with a five- secretary Pepper Potts, chauffeur Happy Hogan and
page feature “All About Iron Man,” which Marvel the soon to appear Senator Byrd whom Lee all had
used to add verisimilitude to its characters. As interact like the parts of a well oiled machine.
mentioned before, Heck had a very narrow window
of excellence during his stay at Marvel in the Silver Tales of Suspense #57
Age, totaling not much more than about three years, “Hawkeye, the Marksman!”; Stan Lee (script),
but in that time he produced many classic comics Don Heck (pencils & inks)
that could rank alongside any by Kirby or Ditko and “The Watcher’s Power!”; Stan Lee (plot),
Larry Lieber (script & pencils), George Roussos
this two-part story was definitely one of them. As [as George Bell] (inks)
for the “Iron Man” strip itself, by this time it had Cover: Don Heck (pencils & inks)
The introduction of what would soon become one of
Marvel’s most popular and long-running characters
was made in Tales of Suspense #57 (Sept. 1964) alongside
the beautiful Black Widow, a Soviet secret agent who
had made her first appearance only a few issues before.
In fact, writer Lee seemed so enamored with Hawkeye
that he “plastered him all over the cover” with images
drawn by Don Heck and taken from various interior
panels (or was that because the ubiquitous Jack Kirby
who did almost all of Marvel’s covers, had decided to
take a coffee break that afternoon?) Be that as it may,
Hawkeye’s introduction this issue hardly hinted at the
role he’d end up playing in subsequent appearances
first as a villain and then as a member of the Avengers.
The fact is, Hawkeye’s career was a perfect example of
how much more interesting Marvel’s characters were
than those of the competition. Unlike the traditionally
modest bowmen employed by other comics compa-
nies, Hawkeye’s motivation for donning a costume was
simple jealousy over being upstaged by Iron Man. After
dressing himself in a distinctive set of purple tights and
coming up with a passel of trick arrows, our would-be
hero ventures into the night to stop a robbery only to be
mistaken for the thief by some passing cops. It was only
Hawkeye’s tough luck to then get picked up by the
© 2009 DC Comics.
Black Widow who seduces him with her charms and

recruits him to work for her commie masters. Hawkeye
would remain on the nether side of the law for some
time before finally being rehabilitated as a member
of the Avengers. Interestingly, despite making the
Brave and the Bold #50. Hawkeye broke the transition to full-time hero, Hawkeye never removed
mold again! Before Marvel’s angry bowman, no that king-sized chip from his shoulder, the one that had
self-respecting archer hero would have appeared him declare right from the start: “…Let Iron Man
in public without a feather in his cap! and every costumed adventurer look to his laurels!


For Hawkeye is about to make them all look sick!” (It and evil mutants over in the X-Men book and the
was for sure Green Arrow never expressed sentiments above ground world inhabited by the rest of the
like that!) It was the kind of brash, sarcastic attitude that Marvel universe. Even Magneto acts as if fighting a
Lee decided to exploit when he moved Hawkeye over “straight” super-hero rather than a fellow mutant is
to the Avengers and one that Roy Thomas later somehow strange. Adding to that sense of strangeness
continued. Helping Lee and Thomas bring Hawkeye to was the fact that even though the X-Men themselves
life both here in Suspense and later on the Avengers, was have a small part in the story, they’re never seen
the more than capable artistry of Don Heck who, directly on stage. Why? Finally, was it coincidence that
helped enormously this issue by his own inking, after Stone left Marvel and such artists as Sinnott and
designed the hero’s distinctive garb which would Colletta began inking Kirby that this period when
remain off and on, but mostly on, as part of his ensemble Marvel comics were just plain fun ended and the next,
for decades. Fun Fact: Did you know that Thomas more serious one began? But for the short time he was
would finally get around to giving Hawkeye a civilian aboard, Stone’s simpler, more direct inking style
name five years after the character’s debut this issue? perfectly suited the years of consolidation.
Journey Into Mystery #109 Sgt. Fury and His Howling Commandos #13
“When Magneto Strikes!”; Stan Lee (script), “Fighting Side-By-Side With Captain America
Jack Kirby (pencils), Chic Stone (inks) and Bucky”; Stan Lee (script), Jack Kirby (pencils), Chic
“Banished From Asgard!”; Stan Lee (script), Stone (inks)
Jack Kirby (pencils), Vince Colletta (inks) Cover: Jack Kirby (pencils), Chic Stone (inks)
One of the key crossover events in these years was
If there was a single unifying factor besides Lee and Sgt. Fury and His Howling Commandos #13 (Dec. 1964),
Kirby themselves during the years of consolidation, it in which Fury and his fightin’ fanatics meet Captain
would have had to be Chic Stone. After spotty work America and Bucky. Although a connection between
by Reinman, George Roussos and even at times the the World War II era and Marvel’s present continuity
uncomfortable fit of Steve Ditko, Stone’s bold but had already been hinted at in smaller ways (Reed
heavy inking style strengthened and greatly comple- Richards of the FF met Fury and the Howlers in Sgt.
mented Kirby’s pencils. Taking into account Kirby’s Fury #3, Ben Grimm was shown in flashback as a
work doing all of Marvel’s covers and the interiors of Marine air combat ace in the Pacific theater in FF
at least four full books and a feature in Tales of #11, a pre-masked Baron Zemo had appeared in Sgt.
Suspense, Stone’s regular inking lent a visual cohesion Fury #8 and Fury himself guest starred in FF #21 as
to the line that complemented Lee’s editorial efforts to an agent of the CIA), Captain America’s appearance
consolidate its universe. A perfect example is Stone’s in this issue left readers in absolutely no doubt that
work over Kirby on Journey Into Mystery #109 (Oct. the inter-related history of the Marvel universe
1964). Another classic battle issue that had the unique
pairing of Thor versus X-Men villain, Magneto, Lee
continued his growing practice of using crossovers to
tighten up the connection among titles. The story
begins when the city is caught in a wave of magnetic
force. Following the phenomenon to its source, Thor
discovers that Magneto is behind the disturbance and
mayhem, of course, follows. The combination of Lee’s
dramatic dialogue and Kirby’s powerful art create
just the right characteristics in the arrogant Magneto
and the noble Thor to make this first meeting the
offbeat encounter that the reader would expect it to
be. In any case, during the battle Thor is separated
from his hammer and, out of Magneto’s sight, is
forced to survive a gauntlet of magnetic traps in
human guise as lame Don Blake before managing to
get his weapon back and forcing Magneto to flee into
Adolf Hitler (left) and Erwin Rommel, two of
hiding. A nice touch here is Lee having Thor fail to the Howlers’ real life villains—but was Baron
recognize Magneto, thus strengthening the feeling of Strucker the strip’s answer to Otto Skorzeny?
insularity between the clandestine battle among good

usual exaggerated remarks about the Howlers’

reputation: “We must be nuts runnin’ in there without
tank support!” “No wonder the captain said he
wanted volunteers! He knew it was a suicide mission!”
But fun and games don’t last forever and soon
Fury and the Howlers team-up with Cap and
Bucky to find and destroy a Nazi tunnel beneath
the English Channel (!) with which the enemy
intends to invade Britain. Coming just before the
presentation of Cap’s wartime adventures in Tales
of Suspense, it’s possible that this story was either
the inspiration for them or intended to introduce
readers to the concept. In either case, Lee, Kirby
and Ayers here contribute one of the very best
entries of the years of consolidation.

“The Return of the Green Goblin!”;
Stan Lee (script), Steve Ditko (pencils & inks)
It wasn’t often in the years of consolidation that
Marvel was there first! Decades before continued stories would go beyond two chapters, but
England and France built the cross-channel as has been seen there were exceptions that perhaps
“chunnel,” Captain America and Fury’s Howlers
pointed to the more open-ended storytelling of the
had to stop the Nazis from doing it on the sly
in Sgt. Fury and his Howling Cammandos #13. grandiose years. The story sequence in Amazing
Spider-Man #17, 18 and 19 is one of them. With “The
Return of the Green Goblin” in Spider-Man #17 (Oct.
stretched farther back than FF #1. Now the possibilities 1964), Lee and Ditko manage to gather together in one
were endless: could all the old heroes of the 1940s be place all the little idiosyncrasies of Spider-Man/
part of the same universe? Did their older selves Peter Parker as inexperienced super-hero while
reside somewhere in the present Marvel universe creating a series of vignettes that have since
waiting to once again step onto the stage? And what become legendary. The story’s simple: Peter Parker’s
about the company’s western heroes? Were they nemesis at school, Flash Thompson, decides to start
included too? Lee took the wise course of picking a Spider-Man fan club, while the Green Goblin sees
and choosing which elements of past comics to graft its opening night as the perfect opportunity to defeat
onto his new line of books and when he did, he and humiliate his enemy in a very public way.
invariably wrote them in his new, more mature style. Events proceed pretty much as a reader might
For instance, his scripting for Captain America and expect until a phone call alerts Peter that his Aunt
especially Bucky, was a great deal more realistic and May is gravely ill. Leaving his fight with the Goblin,
natural than the infantile scripts of the forties which Spider-Man appears to be running away, stunning
were clearly aimed at young children. For this issue, his fans as the Daily Bugle labels him a coward.
Kirby re-teamed with inker Dick Ayers (who had Ditko’s quirky, unassuming style is perfect for
taken over the penciling chores on the book when such scenes as the gang at school; the establishment
Kirby left with #7) to deliver a story jammed with of the fan club; Spider-Man mistaking a movie set
action and even some laughs. Lee’s script captures for an actual hold up; the building complications
all of the myriad characters’ personalities especially between Peter, Betty Brant and Liz Allen; his rivalry
in the opening pages with Fury and his main with the Torch; and Aunt May’s continuing
squeeze, Pamela Hawley, visiting a local pub. When attempts to have Peter meet the mysterious Mary
rival Bull McGiveney walks in and starts to give a Jane as he and Lee continue to add more twists to
luckless private a hard time (who turns out to be Peter Parker ’s increasingly complicated life.
Steve Rogers!), Fury cannot contain himself. “Get Throughout, Lee’s scripting is natural and fun to
that cigar outta your mouth, gruesome! Ya want me read as he and Ditko weave every plot thread to an
to burn my pink little knuckles while I’m caressin’ expert climax guaranteed to leave readers in a
your kisser?” When the MPs arrive, it’s with the state of nervous exhaustion!

Amazing Spider-Man #18 Amazing Spider-Man #19

“The End of Spider-Man!”; Stan Lee (script), “Spidey Strikes Back!”; Stan Lee (script),
Steve Ditko (pencils & inks) Steve Ditko (pencils & inks)
Cover: Steve Ditko (pencils & inks) Cover: Steve Ditko (pencils & inks)
In Amazing Spider-Man #18 (Nov. 1964), Lee and Ditko Maybe more of a thoroughly satisfying epilogue than
continue to pile on the absurdities. Branded a coward by a true continuation, Amazing Spider-Man #19 (Dec.
the entire city, Peter Parker must endure the slights of 1964) gave readers who’d suffered along with their
the kids at school and the disappointment of his fellow hero for the previous two issues the release they
super-heroes. The school bully, Flash Thompson, still craved, as a reenergized Spider-Man tears into the
Spider-Man’s staunchest fan, masquerades as his hero villainous combination of the Sandman, the evil
in an effort to “prove” his idol’s bravery and gets beaten Enforcers and a host of petty thugs. Talk about action,
up in the process; Peter is forced to find a job in order to if those seemingly impossible odds weren’t enough,
be able to afford Aunt May’s medicine, and failing, tries this issue also features special guest star and frequent
to sell himself as Spider-Man to a trading card company Spider-Man bete noir, the Human Torch! The story
that won’t see a has-been for dust, and later offers the opens with a page of typical Ditko-style action as
formula for his webbing for sale to a glue industry that Spider-Man nabs a gang of bank robbers followed
has no use for an adhesive that lasts only an hour; his girl immediately by a hilarious three-panel sequence
troubles continue with Betty Brant jealous of Liz Allen; showing the change in J. Jonah Jameson’s face as the
and finally, we see the ultimate absurdity of a super-hero news of Spider-Man’s return is whispered in his ear.
calling in a crime in progress instead of tackling it An interlude at school with Flash Thompson and Liz
himself! At last, fearing that his ailing aunt would have Allen and another in which we’re introduced to Ned
no one to care for her should anything happen to him, Leeds take up another page or two, and from there
Spider-Man avoids a fight with the villainous Sandman it’s non-stop action as Lee and Ditko unite Spider-Man
by appearing to flee from him in fear (the subject of this and the Torch in an uneasy alliance against their
issue’s classic cover image). Admitting defeat, Peter enemies. No doubt about it, in these years Lee and his
blames his Spider-Man alter ego for all his problems and artists had their act together and knew exactly what
vows to quit only to receive a lecture from an improving the readers wanted. After reading this three-part story,
Aunt May on strength of character and being able to was it any wonder why upstart Marvel was soon
overcome personal misfortune. Inspired by his aunt’s breathing heavily down industry leader DC’s neck?
courage, Peter dons his costume again with a renewed
optimism in life. Lee and Ditko took the super-hero and Tales of Suspense #59
the readers as low as they could go and brought them “The Black Knight”; Stan Lee (script),
back again in a story that proved to be a benchmark in Don Heck (pencils), Chic Stone (inks)
Marvel history for its sheer number of original elements. “Captain America”: Stan Lee (co-plot),
Jack Kirby (co-plot & pencils), Chic Stone (inks)
Beneath the simple but dramatic cover of Tales of
Suspense #59 (Nov. 1964), lurks ten of the most action-
packed pages of comic art ever drawn! No kidding!
Lee and Kirby pull out all the stops in this debut
installment of Captain America’s first solo series since
the early 1950s. Its appearance in this issue (and the
“Hulk” strip in Tales to Astonish) also marked the end
of Marvel’s long-running fantasy features and their

complete displacement by the new super-hero line. If
Lee could have, he probably would’ve launched these
new features in their own titles, but because he was
restricted in the number of books allowed him by the
company’s distribution deal with DC, he had to make
do with pairing features in the former fantasy titles. It
Amazing Spider-Man #19, page 3. Ditko didn’t matter to readers, because for the next few
displays his mastery of facial expression in this years they’d be treated to some of the greatest “double
triptych of J. Jonah Jameson receiving some
bad news!
feature values” ever offered in comics—and this issue
is no exception! The “Captain America” strip debuted

with Avengers Mansion being assaulted by a small army of thugs intent discovers that to keep his damaged
on stealing the team’s secrets (whatever they were!). Kirby choreographs heart beating, he has to stay in his
the non-stop action with such skill that a reader could swear it took place full-body armor permanently!
over 20 pages instead of only ten! Meanwhile, in the front half of the But chauffeur Happy Hogan and
book, Lee and Heck were really humming with a 13-pager that had Iron secretary Pepper Potts suspect foul
Man battling the Black Knight. And for added complications, Iron Man play when Iron Man announces
that their boss, Tony Stark, will
“be out of town for a while,”
leaving himself in charge. Readers
had to wait a month to find out
what happened next…
Fantastic Four #33

“Side-by-Side with Sub-Mariner!”;
Stan Lee (script), Jack Kirby
(pencils), Chic Stone (inks)
Chic Stone (inks)
The demarcation between Marvel’s
four phases from the early years
to the years of consolidation to the
grandiose years was not some-
thing that could be pinpointed by
a single comic or isolated event.
Rather, the changeover from one
era to the next was usually a
protracted one, moving at different
paces in different series. Always
ahead of the curve however, was
the Fantastic Four which led the
way with a solid cast of heroes
and villains and a continuous
stream of ideas that took the FF
from the ordinary workaday
world of the 1960s into other
realms from outer
space to the micro
world to the bottom
of the sea, which
was the locale for
Fantastic Four #33
(Dec. 1964). The

first thing about
this book that met
the reader’s eye was
a cover sporting
the figure of Sub-
Mariner as he knifes through the
Fantastic Four #33, page 8. A pioneer in exploiting full and
briny deep in the direction of a
double-page spreads, Kirby once again leads the way! Dabbling in snarling Attuma. But beneath the
collage, whose rising popularity was gripping the art world from issue’s screaming headline of
the Louvre to local grade schools, the artist managed to come up “On the Side of Sub-Mariner!”
with some of the most striking—and often inexplicable—images the familiar colorful tones of a
of his career!
Marvel cover were absent;

instead, the muted grays of a black-and-white

photograph occupied the background. In fact, the
cover of this issue was only Kirby’s most prominent
use to date of a technique that had first been
developed early in the twentieth century but that
reached a zenith of popularity by the 1960s.
Although collage had its beginnings hundreds if
not thousands of years ago, what is understood as
modern collage or photomontage, came about
after the invention of the camera. In photomontage,
the art is actually a composite photograph made by
cutting and joining a number of other photographs
from various sources. Although it was a process
that Kirby began to explore in the years of
consolidation, it was one that would only reach its
fullest expression and its most appropriate uses in
the grandiose years. What Lee thought of such
pages as this issue’s cover or the murky undersea
vista that occupied all of page 8 can only be supposed,
but readers, at least, received them with enthusiasm,
no doubt comparing them with their own efforts
in school where collage became very popular with
art teachers as a form of student expression. As for
Kirby, use of collage was his own unconscious
attempt to enter into the spirit of the ’60s echoing
as it did the wild kinds of San Francisco poster art
then being used to advertise rock bands that in
© 2009 DC Comics.
turn sometimes referenced Marvel’s characters in
their songs! Kirby’s use of collage first appeared
briefly in FF #29 as the Red Ghost pilots his spaceship
to the surface of the moon. Emboldened by how
that effort reproduced on newsprint, Kirby Superman’s Pal Jimmy Olsen #136, page 19.
returned to the form for the cover and one interior Kirby’s interest in montage continued
page this issue. Although the work was interesting, throughout the latter 1960s, extending into
these early efforts were attempts by the artist to the 1970s when the artist left Marvel and
capture literal events such as a spaceship descending moved on to rival DC.
to the surface of the moon or the bottom of the sea.
In later examples, Kirby would develop a more X-Men #9
representational style with photos of random “Enter, The Avengers!”; Stan Lee (script),
objects thrown together to suggest places and Jack Kirby (pencils), Chic Stone (inks)
objects rather than depicting them as they really Cover: Jack Kirby (pencils), Chic Stone (inks)
were. This method worked much better overall, X-Men #9 (Jan. 1965) guest starred the Avengers (in
with literal examples in Sgt. Fury #13 being far one of the earliest crossover/advertising blitzes for a
less satisfying than the more psychedelic head new comic, the X-Men themselves were busy
trip used wonderfully in The Mighty Thor #132. appearing in just about every Marvel book at the
Kirby’s use of collage resulted in a brief explosion time except that of the Avengers!). With five
of its use by other artists at Marvel, most notably Avengers, five X-Men, Professor X and a mysterious
James Steranko, who managed to integrate it into new super-villain, Kirby (inked again by Chic Stone)
his own multi-media palette. But regardless of had his hands full this issue doing in 20 pages what
how each individual example of Kirby’s collages in later years would take a 12-issue mini-series!
may or may not have worked or who else may Somewhere in Europe, Prof. X searches out and
have followed his example, it was all part and confronts a new Marvel arch-villain called Lucifer, a
parcel of what made Silver Age Marvel such an being from an alien dimension who’d been responsible
exciting place to be! for crippling the wheelchair bound X-Man sometime
in the past. Meanwhile, arriving on the Continent hot on their leader’s Kirby simply dropped the reader
trail, the rest of the X-Men stumble upon the Avengers, who have also in the middle of the action: Prof. X
been searching for Lucifer. Naturally, a misunderstanding occurs and is already in Lucifer’s lair, the
the two teams mix it up. Eventually, a mental summons from Prof. X X-Men arrive in Europe by page 6,
explains all to the Avengers who gallantly step aside allowing the X-Men the Avengers show up without
to finish the mission. Lucifer is defeated of course, but still manages to preamble on the same page and
provide the story with a dramatic climax in the form of a deadly thermal the reader is informed of anything
bomb designed to ignite if his heart should stop! For this story, Lee and else as the action progresses.
Characterization of a dozen heroes
and villains is all done on the wing
and when the reader finishes, he
feels as if he hasn’t missed a thing!
Tales of
Suspense #63
“The Black Widow
Strikes Again”; Stan
Lee (plot), Don Rico
[as N. Korok]
(script), Don Heck
(pencils & inks)
“The Way It Began”;
Stan Lee (plot),
Larry Lieber (script
& pencils), Paul
Reinman (inks)
Sol Brodsky (inks)
Sometimes Marvel would give
their readers twice their money’s
worth even without benefit of a
continued story (and weren’t
usually modest about saying so
either!). Tales of Suspense #63
(March 1965) is a case in point; two
complete stories told in 12- and 10-
page segments that had so much
happening in them that they left
readers feeling as if they’d actually
read two feature-length stories. In
“Somewhere Lurks the Phantom,”
Iron Man must track down a
mysterious saboteur within the
sprawling Stark factory complex.
Don Heck did the art chores and in

his prime had a style reminiscent
of Alex Raymond (unmasked,
super-villain Hawkeye looked like
Flash Gordon!). The first rule of the
years of consolidation was to first
give characters identifiable back-
X-Men #9, page 6. Busy making guest appearances everywhere else, grounds from which motivation
the X-Men didn’t seem to have had the time to drop in on the for their actions might be drawn.
Avengers so Marvel’s assemblers saved them the trouble by The consistency of the Marvel
visiting them instead. Mayhem, of course, ensues!
universe depended strongly on

the scrawny Steve Rogers, the first mission and the

teaming with Bucky Barnes (Kirby, of course packs
all the action in ten pages)—but told by Lee as he
skillfully redresses scenes that were frequently silly
back in comics’ Golden Age of the 1940s and makes
them more dramatic and realistic for readers in this,
the Marvel Age of Comics!
X-Men #11
“The Triumph of Magneto!”; Stan Lee (script),
Jack Kirby (pencils), Chic Stone (inks)
As the years of consolidation drew to a close, Marvel
moved into a kind of transitory phase bridging the
gap between this era and the grandiose years. One of
the key books in this transition was X-Men #11
(May 1965). The most close-knit title in Marvel’s stable
of books, the X-Men feature had always seemed an
insular one with few guest appearances, its
concentration on the war between good and evil
mutants, and frequent appearances by Magneto and
his Brotherhood of Evil Mutants (who sometimes
seemed more like co-stars than villains!). Looked at
all together, X-Men #1-11 form an imperfect whole,
with the clandestine struggle between the X-Men and
Magneto the common thread binding them together.
With this issue, that thread comes to an end as the
threat of Magneto seems to conclude with his being
Four color #10. Was it Flash Gordon or kidnapped by the Stranger, a mysterious, seemingly
Hawkeye without his mask? Only their omnipotent being from space of the kind that would
hairdressers knew for sure! Flash Gordon become increasingly common in the later grandiose
artist Alex Raymond was a big influence on years. Misinterpreting the nature of the Stranger,
Heck’s early style.
each side seeks to recruit him for themselves, but the
Stranger has plans of his own, and after a brief
information the reader could count on to remain the encounter between the X-men and the Brotherhood,
same from issue to issue, even from year to year. Magneto and the servile Toad are taken into space.
Revealing the origins of characters became an Meanwhile, Quicksilver and the Scarlet Witch quit
important tool for doing just that (and when of the struggle altogether (to reappear a few months
necessity origins needed to be retold from time to later as members of the Avengers!) and Mastermind is
time, the cardinal rule was not to change what had trapped in a stone-like form. Fittingly, it would be
been said before, but if something different had to be Kirby and Stone, the art team whose combined style
done, then it was almost always in the way of adding had come to define the years of consolidation that
more detail to already established facts). Such would would mark fini to this opening chapter in X-Men
be the case with Captain America, whose origin history. When next we meet the X-Men, it’ll be in
became one of the most often repeated tales of the confrontation with a villain more suited to the
Silver Age. Here however, is the very first version, grandiose years than to the years of consolidation.
retelling “The Origin of Captain America.” Use of the
words “first” and “retelling” may sound like a Avengers #15
contradiction in terms, but in this case they make “Now, By My Hand, Shall Die a Villain”; Stan Lee
sense in that although Cap’s origin was first told in (script), Jack Kirby (layouts), Don Heck (pencils), Mike
the 1940s, this was the 1960s, a new era in comics that Esposito [as Mickey Dimeo] (Inks)
demanded the origin be retold and retooled for a new, Cover: Jack Kirby (pencils), Chic Stone (inks)
more demanding audience. And so, here are all the As the end of the years of consolidation drew to a close,
familiar scenes—Dr. Erskine, the Nazi double agent, there was an overlap of characteristics with the next

Swag
By the time the years of consolidation were in full swing,

so were Marvel’s merchandising efforts. Stationary, plastic
pillows, buttons, pins, board games, trading cards, puzzles,
and T-shirts were all offered to eager fans while at the same
time spreading the gospel of Marvel madness. But none
was perhaps as influential in getting the word out as the
syndicated Marvel Superheroes cartoon show, which featured
a host dressed as Captain America and very limited
“animation” shot directly from the comics!
stage of Silver Age Marvel, the grandiose years, when the where Captain America has trailed Zemo, another
sense of experimentation with continuity evolved into a battle takes place resulting in the accidental death of the
deliberate cultivation of serious, larger than life themes. Nazi villain, an eventuality that would be used more
Storylines became longer, the stakes higher, and often and to equally dramatic effect in the grandiose
endings sometimes blurred into the beginnings of the years. Kirby, after Avengers #8, had relinquished the
following tale. For instance, what starts out in Avengers penciling chores to Don Heck but returned in #14 to do
#15 (April 1965) as a battle between the assemblers and the layouts through #16. Here, beneath a solid team-
the Masters of Evil, metamorphoses in the next issue versus-team cover and despite all the bases he had
and becomes the historic first change in line-up of the to cover, Kirby delivers an exciting, fast-paced yarn.
Avengers. “Now, By My Hand, Shall Perish a Villain”
starts out with the original Avengers’ founding Avengers #16
members, Thor, Giant-Man and the Wasp, Iron Man and “The Old Order Changeth”; Stan Lee (script),
Captain America, in combat with their respective arch- Jack Kirby (layouts), Dick Ayers (pencils & inks)
enemies, Zemo, the Executioner and the Enchantress, Cover: Jack Kirby (pencils), Dick Ayers (inks)
the Black Knight and the Melter. Involving all the Avengers #16 (May 1965) was in many ways a radical
elements readers had become familiar with, including departure in the way comics were generally handled at
the crossover, continued story and continuity, the action the time. It was assumed that the readers were a fickle
leaves off just as the two teams square off for a lot who’d easily get upset if their favorite book deviated
showdown. Meanwhile, in the jungles of South America too far from its expected delights. Consequently, editors

liked to keep books as much the same from issue to a mountain fall on him. But now, years later, the
issue as possible. Who’d dream of removing the Flash transformed Caine Marko has returned and, under the
from the Justice League? In his conscious decision to curse of the Juggernaut, once he’s set his mind on a
make the Marvel universe a coherent place (and no goal, nothing can keep him from it, not even the
doubt to make it easier for him to keep track of each formidable defenses ringing the X-Men’s
character’s continuity), Lee decided to risk removing headquarters. As the story unfolds and the suspense
Thor, Iron Man, Giant-Man and Wasp from the mounts, the Juggernaut smashes them, his form never
Avengers and replacing them with three new members. fully revealed. Meanwhile, Professor X fills in the
In “The Old Order Changeth,” all the headliners except X-Men on the Juggernaut’s origin and incidentally
Captain America left and in their place come in that he was once his step-brother! Finally, with their
Hawkeye, Quicksilver and the Scarlet Witch, hardly big last defense destroyed, the Juggernaut, more a force of
guns! With tighter than usual layouts, Kirby was aided nature than a man, stands revealed before the X-Men.
this time by Dick Ayers, who together manage to have Although Kirby had quit penciling the X-Men with
the Avengers dispose of the Masters of Evil in the first #11, he still managed to stay on to do the layouts.
four pages of the book. Soon after, the Avengers decide Penciled and inked by an army of artists (including
that they no longer have the time to divide between Alex Toth, Vince Colletta and “the whole blamed
their team duties and their personal lives. They put out Marvel bullpen”), in many places Kirby’s distinctive
the word for candidates to replace them in the team and style can still be made out. A wonderfully plotted and
by the time Cap returns from South America, the dramatically written story, the awesome nature of the
nation’s press has Avengers Mansion hemmed in and
his teammates have already elected their replacements.
There’s a happy reunion among the old comrades
until first Giant-Man leaves, then a somber Iron
Man, who seems to echo a nation’s young President
as he thinks, “The mantle has been passed to a new
and younger group…It has to be this way…The old
must ever give way to the new…” Nearly forty years
later, Lee’s deft scripting still carries a wistfulness
that readers at the time must have felt for an era they
hardly knew was passing.
X-Men #12
“The Origin of Professor X!”;
(layouts), Alex Toth (pencils),
Vince Colletta (inks)
Frank Giacoia (inks)
The title said it all: “The Almost
Indescribable Menace of the
Juggernaut!” It was the first
chapter of a two-part story that
began in X-Men #12 (July 1965);
a yarn that featured a villain
completely different from your
average world-conquering bad
guy (or the villains that had
been routine in Marvel’s first
two developmental phases). “Whosever touches this
All American Western #105, by Alex Toth
gem shall possess the power of the crimson bands of (inset). Alex Toth hit a high point artistically in
Cyttorak. Henceforth, you who read these words, shall the 1950s when he drew a handful of Air
become…forevermore…a human Juggernaut.” That’s Force stories for EC’s war comics. He was not
the way Caine Marko read the words on the gem he’d well served however, on the hodgepodge that
found during the Korean War before promptly having was X-Men #12.

Juggernaut, however, could’ve been captured so much Journey Into Mystery #115
better had Kirby contributed full pencils! As it was, “The Vengeance of the Thunder God”; Stan Lee
Lee managed to create in words a truly fearsome (script), Jack Kirby (pencils), Frank Giacoia (inks)
villain and a story that in places actually conveyed “A Viper In Our Midst!”; Stan Lee (script),
the dread and wonder of the events taking place. Jack Kirby (pencils), Vince Colletta (inks)
X-Men #13 Journey Into Mystery #115
“Where Walks the Juggernaut!”; Stan Lee (script), Jack (April 1965) opens in
Kirby (layouts), Werner Roth [as Jay Gavin] (pencils), Asgard as Thor confronts
Joe Sinnott (inks) his evil brother. Their fight
is broken up by Odin,
In X-Men #13 (Sept. 1965), the battle between the X- however, who, despite his
Men and the Juggernaut begins in earnest and doesn’t omniscience, refuses to
stop until the last page. Choreographed by Kirby listen to Thor’s explana-
and finished by artist Jay Gavin (actually Werner tions and orders him to
Roth), the team of mutants wage a losing fight against report in 48 hours for “the
the unstoppable Juggernaut while Professor X trial of the gods.” With
searches telepathically for reinforcements. Finding free time on his hands,
them in the Human Torch, he leads him to the battle Thor returns to Earth to
site and completes a plan that involves ripping off the finish his battle with the
Juggernaut’s helmet. Thus exposed, the thing that had Absorbing Man. Catching
once been his brother becomes susceptible to the Inker Frank Giacoia
up to him, battle ensues.
mutant leader’s psychic power. With his flattened, did stellar work In the climactic scene,
concealing helmet, the Juggernaut was built like a over Kirby and Crusher Creel absorbs
tank, giving him an aura of supernatural menace that Gene Colan, but all the properties of the
seemed to emphasize the fact that he was no longer the did less well over terrain around him and
Heck, whose style
human Caine Marko (and certainly not the rather droll becomes a towering
demanded a more
humpty dumpty figure he’d become in later years). subtle touch than behemoth of stone, metal
Frank was able to and wood, but just as all
Journey Into Mystery #114 provide. seems hopeless for our
“The Stronger I Am, the Sooner I Die”; Stan Lee hero, Thor surrounds him
(script), Jack Kirby (pencils), Chic Stone (inks) in a cloud of helium and, having been forced through
“The Golden Apples!”; Stan Lee (script), contact with it to absorb the properties of the gas,
Jack Kirby (pencils), Vince Colletta (inks)
the Absorbing Man drifts helplessly into space.
Throughout the book, Kirby, in a sign of things to come,
Meanwhile, over in Journey Into Mystery #114 (March began to “open up” the art to include more quarter- and
1965), Chic Stone was supplying his final services over half-page panels that gave the story more drama and
Kirby’s “Thor” in a two-part story headlined by a power (something he’d been doing right along in the
spectac-ular cover of two elemental forces in perfect book’s “Tales of Asgard” back-up), a trick that would
balance as Thor and the Absorbing Man meet hammer come into more common use in the next phase of
to ball and chain. In keeping with Marvel’s growing Marvel’s development. Lee, too, began to subtly alter the
reliance on bigger, more consequential stories in the speech patterns of his godly characters so that they now
closing months of the years of consolidation (after all, it begin to sound more stentorian, more in keeping with
was called a “super epic” right on the cover!), this issue’s their aloof removal from the doings of Earth. With these
“The Stronger I Am, the Sooner I Die” features Loki’s elements in place, Lee’s new scripting style, Kirby’s
latest scheme to do in Thor. This time, he provides more open layouts and Colletta taking over the inking
convict Crusher Creel with a potion that turns him into chores from Stone, in a year or so, the strip would reach
the Absorbing Man. In no time, he and Thor come to its zenith and become the standard bearer of the next,
blows as Thor realizes that the Absorbing Man can more serious phase in Marvel’s development.
duplicate every power which he himself possesses. By
this time in the company’s development, such a Fantastic Four #38
scenario would be too big to limit to a single book, so “Defeated by the Frightful Four”; Stan Lee (script), Jack
readers had to wait until the next issue to find out who Kirby (pencils), Chic Stone (inks)
would win! Cover: Jack Kirby (pencils), Chic Stone (inks)

A clear cut example of the transition from the years of usual was Kirby himself, who gave readers a thrill
consolidation to the grandiose years are issues 38, 39 by treating them to one of his earliest uses of photo-
and 40 of the Fantastic Four. On their face, the easiest collage, a technique that had become popular in the
way to tell the difference in tone is by looking at avant garde art world of the 1960s.
Kirby’s inkers on the strip: issue #38 is Chic Stone’s
last, issue #39 is inked by Frank Ray (actually Frank Fantastic Four #40
Giacoia using a pseudonym!) and #40 by Vince “The Battle of the Baxter Building”; Stan Lee (script),
Colletta (who’d stay on until #44 when Joe Sinnott took Jack Kirby (pencils), Vince Colletta (inks)
over). Also interesting is that these issues form only the Cover: Jack Kirby (pencils) Frank Giacoia (inks)
beginning of a vaguely connected but definitely The concluding act of this extended series ends in
related storyline that stretches across all of these Fantastic Four #40 (July 1965) when the FF manage to
books and beyond; #38-43 are definitely on one side fight their way to the top of the Baxter Building. In a
of the divide and #44-47 on the other. In Fantastic Four development that left much to be desired after such a
#38 (May 1965), the team’s evil counterparts, The thrilling build-up, when the powerless four finally
Frightful Four, kidnap the Invisible Girl forcing the reach their goal, Mr. Fantastic pulls out an “electronic
rest of the FF to come to a deserted island to rescue stimulator” and, training it on his teammates, restores
her. There, the two teams mix it up until the evil FF their powers. It turns out that the stimulator was all
manage to escape, stranding the good guys on the that was needed to do the trick but needed “another
island with a ticking “Q-bomb!” It explodes, leaving few more days of recharging!” Not exactly the most
our heroes floating in the ocean unconscious within satisfying climax to such a great story, but it did
a force bubble created by the Invisible Girl.
Fantastic Four #39

“A Blind Man Shall Lead Them”; Stan Lee (script), Jack
Kirby (pencils), Frank Giacoia (inks),
Wally Wood (inks) [on Daredevil figure]
Cover: Jack Kirby (pencils), Chic Stone (inks), Wally
Wood (inks) [on Daredevil figure]
The symbolic cover of Fantastic Four #39 (June 1965)
showing the FF being led by a red-suited Daredevil
while a gigantic, menacing figure of Dr. Doom looms
over the New York skyline, seemed to say it all: “A
Blind Man Shall Lead Them!”
Following their defeat by the
Frightful Four the issue before,
the FF discover that they’ve lost
their super-powers. Desperately,
Mr. Fantastic tries to find ways
to artificially duplicate the
team’s natural powers, but at a
critical moment Dr. Doom takes
control of the team’s Baxter
Building headquarters. Turning
their own weapons against
them, it doesn’t take Doom
long to realize the FF’s true
helplessness and the tension
mounts accordingly. Led by
Daredevil (whose figure was inked by Wally Wood,
then the current artist on the DD strip), the four must
reach the building and manage to fight their way to the Weird Science #15 by Wally Wood (inset). Like
top. Although Frank Ray’s inks over Kirby this issue Toth, Wood was a graduate of EC Comics before
helped ease the transition between Stone and landing at Marvel just in time to take part in
the years of consolidation.
Colletta’s wildly divergent styles, the highlight as

provide Lee and Kirby (whose pencils were inked pursued so vigorously in these years), the story’s main
this time by Vince Colletta, who, despite proving an event, the wedding of Sue Storm and Reed Richards,
excellent fit over Kirby on the somewhat medieval also served as the ultimate example of internal
atmosphere of Thor, was nevertheless completely consolidation. The thread of the two characters’
unsuited for the real-world sci-fi action of the FF) with romance had its beginnings as early as the first issue of
the type of human drama that once again showed the FF and later it was revealed to readers that Sue and
why Silver Age Marvel was head and shoulders above Reed had been childhood sweethearts during World
its competition. The drama in this case turned on Ben War II. As the series progressed, an element of the
Grimm who alone of the four is far from happy to unknown entered the picture when the Sub-Mariner
have his powers restored: “But…mebbe I don’t wanna forced Sue to reexamine her feelings for Reed. With the
become the Thing again!! I’m finally normal…like issue resolved in Fantastic Four #27, Reed and Sue
anyone else!” But Reed Richards thinks otherwise announced their engagement in #36. To readers, events
claiming the situation with Doom calls for desperate like these gave the Marvel universe a semblance of real
measures. “Poor Ben! It…it seems so cruel!” says the life and when the Richards’ child was born in Fantastic
Invisible Girl. “He may hate me for this forever after,” Four Annual #6, the feeling of change and realistic
responds Richards, “but…for better or worse, the progression was only reinforced. The evolution of
Thing must live again!” But despite his ending of the two characters’ relationship from sweethearts to
Doom’s threat, there can be no celebration for the parents became a perfect metaphor for the direction in
Thing: “I got the short end of the stick on this whole which Marvel’s entire line of super-heroes had been
deal! You can git married, but not me! You can be heading in its first five years. It was a place where
normal…but not me!” The story ends not in the readers had begun to learn to expect change, progress,
elation of victory, but in the announcement by the comings and goings and even the deaths of characters.
Thing that he intends to quit the group leading into the This was like nothing anyone had ever seen before
title’s next extended story cycle in which the Frightful from any other comics’ company. And yet, in a sense,
Four return and the Thing turns against his teammates. readers hadn’t seen anything yet, for the serious,
grandiose years still lay ahead, filled with the awe of
Fantastic Four Annual #3 living planets, the wonder of cosmic beings, birth and
“Bedlam at the Baxter Building!”; Stan Lee (script), death, the problems of bigotry, drugs and pollution
Jack Kirby (pencils), Vince Colletta (inks) and even the
“Captives of the Deadly Duo”; Stan Lee (script), acknowledgement that
Jack Kirby (pencils), Dick Ayers (inks), Joe Sinnott
(inks assist); reprinted from Fantastic Four #6 there is after all, a God of
“A Visit with the Fantastic Four”; Stan Lee (script), love above it all.
Jack Kirby (pencils), Dick Ayers (inks); reprinted
from Fantastic Four #11 Amazing Spider-Man
“The Impossible Man”; Stan Lee (script), Jack Kirby #25
(pencils), Dick Ayers (inks); reprinted from Fantastic “Captured by J. Jonah
Four #11 Jameson” ; Stan Lee
Cover: Jack Kirby (pencils), Mike Esposito (inks) (script), Steve Ditko
(pencils & inks)
Observation of the elements defining the years of Cover: Steve Ditko
consolidation doesn’t necessarily have to be limited to (pencils & inks)
identifying overall trends in the Marvel comics of
the time, sometimes they can be identified within The Spider-Man books, too,
individual titles themselves. Internal and external were a perfect example
consolidation you might say. The perfect example of of internal consolidation.
external and internal consolidation in a single comic is Inker Mike Esposito The title had been picking
Fantastic Four Annual #3 (mid-1965), “The world’s most made a brief up plot points and char-
colossal collection of costumed characters, crazily appearance in acter details for over two
the years of years before they all really
cavorting and capering in continual combat!” The consolidation before
cover and lead story sported a Kirby collage of just began to come together
returning big time
about every hero and villain in the burgeoning Marvel in the twilight
in issues #25-28. They
universe (you count ’em!) and at the time was probably years embellishing played off each other,
the answer to every fan’s dream. But aside from the Ross Andru on and in doing so created
obvious fact of it being the ultimate crossover event Amazing Spider- new wrinkles that in
Man. turn could be explored in
(the logical end-product of the guest-starring trend

the future. One of the main to put the robot out of action, and Flash Thompson’s jealousy of Peter
architects for all this was artist over Liz Allen that leads into a wild chase scene with Peter trying to
Steve Ditko, who gets a credit in keep ahead of Flash’s gang while at the same time avoiding capture by
Amazing Spider-Man #25 (June Jameson’s robot! Finally, readers get to “meet” the mysterious Mary
1965) for plotting the story. The Jane Watson, spot the unnamed Norman Osborn (a.k.a. the Green
first official acknowledgement Goblin!) at a businessman’s club and learn that Aunt May has found
given the artist for work he’d been Peter’s Spider-Man costume! Whew!
doing on the strip in equal
partnership with Lee almost from
the beginning, it set a precedent
that would prove contentious for
the company in the years to come.
In the meantime, however, so
smooth is Ditko’s juggling of the
many story elements that have by
this time become hallmarks of the
Spider-Man strip that it left little
doubt that the artist had had a
strong hand in the plotting of the
book from a much earlier date.
Ditko’s fingerprints on the book
can be found on the sheer number
of personal travails and absurd sub-
plots surrounding Peter Parker
(that seemed to
proliferate as the
strip matured!),
many of which
Lee chose to drop
in favor of a more
sedate approach after
Ditko’s departure
with issue #38. This
issue for instance,
after having built up
the personality of
Peter Parker as an honest and well
meaning but fallible everyteen,
Ditko has decided to add a bit of
venality and hubris to the character.
In what would prove to be a
dangerous over-confidence in his
abilities, Peter convinces J. Jonah
Jameson to hire a peculiar robot to

hunt down Spider-Man. But the
robot proves to be much more than
Peter expected and comes close to
actually defeating him. Lee and
Ditko expertly manipulate all of
the strip’s by now familiar cast of
characters to create a fast-moving Amazing Spider-Man #25, page 15. After a build-up covering a
story more filled with humor than number of issues, Stan and Steve finally allow readers,
action, including Jameson’s greed as well as Betty Brant and Liz Allen, to meet the mysterious
Mary Jane Watson—sort of!
and envy, Betty Brant’s attempts

Avengers #19 upper left-hand corner of every cover: beneath the

“The Coming of the Swordsman”; Stan Lee (script), illustration of the star of the particular comic, the words
Don Heck (pencils), Dick Ayers (inks) “Marvel Pop Art Productions” was written in jaunty
Cover: Jack Kirby (pencils), Don Heck (pencils) [insets], lettering. The words would stay there only for a few
Frank Giacoia (inks) months however… until Lee had moved on to other
By the time the years of consolidation were well interests. There’s no
underway, a strange thing happened: the world outside evidence that the new
the elementary and high school set began to discover the labeling meant a
wonders of Marvel’s burgeoning four-color universe. change in the way the
Soon, Lee found himself invited to college campuses to comics themselves were
talk about his comics, and the company began to receive presented; certainly not in
letters from readers who talked about Dostoievsky and Avengers #19 (Aug. 1965)
Freud as easily as Spider-Man and Dr. Strange. In an era which sported a Kirby
where the line between art and pop culture was wide drawn Swordsman that
and often unbridgeable, Marvel began to close the gap had every indication of
as it became hip to discuss its comics in the same breath having been created as a concept design that ended up
as Shakespeare and Dickens. College students who being used as the cover, much like those for Daredevil #1
remembered the irreverent attitude of the old EC comics and Tales of Suspense #39. Added evidence includes
of the 1950s or who had older siblings that had left portraits of four Avengers bracketing the figure of the
forbidden EC comics in the back of the closet picked up Swordsman that were obviously drawn by Don Heck
on Marvel’s tongue-in-cheek approach to storytelling (who may have also contributed the bank of machinery
recounting straight-ahead action and angst while at the behind the Swordsman). Inside, the book featured a
same time poking fun at its characters. In Amazing tightly plotted but unlikely tale by Lee with art by the
Spider-Man #36 scientist Norton G. Fester is fooling team of Heck and Dick Ayers that had the Swordsman
around in his lab: “Just because I flunked science in forcing the Avengers into signing him up as a member!
school doesn’t mean I can’t discover the secret of the
universe! I’ve as much chance as anyone else…Maybe Amazing Spider-Man #26
I’ll accidentally stumble over something, like Isaac “The Man In The Crime-Master’s Mask”;
Newton!” In a footnote, Lee tells the reader “You Stan Lee (script), Steve Ditko (co-plot, pencils & inks)
guessed it, friend! N.G.F. is a part-time nut!” Knowing
winks to the sometimes absurd conventions of comics Ditko continued as credited plotter in Amazing Spider-
was what endeared Marvel to older readers and Man #26 (July 1965) with the first chapter in a two-part
persuaded them that there was more to the company’s mystery entitled “The Man in the Crime-Master’s
product than colorful fistfights. Apparently supported Mask.” Here, Lee and Ditko treat the reader to an
by such critically acclaimed artists as Roy Lichtenstein involved gangland mystery that successfully intertwines
and Andy Warhol, readers felt emboldened to declare the trails of the Crime-Master, the Green Goblin and
Marvel required reading on campus book lists. Marvel’s apparently reformed underworld figure Frederick
widespread acceptance outside the ghetto of children’s Foswell. In between trying to keep up with the various
literature foreshadowed the eventual takeover of the clues, Peter Parker is forced to deal with a cheap store-
arts in general by pop culture, a process that would be bought Spider-Man costume that has the hilarious habit
complete by the end of the century. At the time, though, of coming apart at the most inappropriate moments (his
Lee wasted no time in taking advantage of the situation. two genuine costumes were taken by Prof. Smythe and
Taught by publisher Martin Goodman to remain Aunt May respectively!), sneaks around the house
sensitive to any alterations along the pop culture hoping to find the costume Aunt May discovered the
highway, Lee moved quickly to feed into collegiate issue before, tries to straighten out a misunderstanding
expectations. “So many of you frantic fans have objected with Betty Brant involving Liz Allen and the mysterious
to calling our Marvel mags ‘comics’ that we felt we just Mary Jane Watson, keeps tabs on ex-con Frederick
had to come up with a better name,” declared Lee in the Foswell, fights with school rival Flash Thompson, and
summer of 1965. “And so, from now on, you are no finally gets sent to the principal’s office! And what about
longer reading comic books when you read our little Patch the stoolie? And the second appearance of
masterpieces! Instead, you’re reading a ‘Pop Art book!’” Norman Osborn (a.k.a. the Green Goblin)? The reader
Lee accompanied the statement (made on the letters hardly has time to catch his breath before Spider-Man is
page of every book cover dated August) with a captured by the Crime-Master and brought as a prisoner
change in the company’s familiar trademark in the before the assembled mobs of New York’s underworld.

Amazing Spider-Man #27 Molten Man being knocked around. But as was
“Bring Back My Goblin To Me!”; Stan Lee (script), becoming more and more frequent with this book, the
Steve Ditko (co-plot, pencils & inks) adventures of Peter Parker were at least as interesting
Cover: Steve Ditko (pencils & inks) as those of his alter ego. In particular, this issue’s main
In “Bring Back My Goblin to Me,” Amazing Spider-Man event isn’t Spidey’s fight with the Molten Man, but
#27 (Aug. 1965) answers at least one of the questions Peter Parker’s graduation from high school! But
raised in the previous issue: The Crime-Master before readers are treated to J. Jonah Jameson’s
turns out to be none of the above, but merely one commencement address, they’re first informed that
more unknown, would-be kingpin of crime. Left Flash Thompson has surprisingly taken the blame for
unanswered: who is the Green Goblin? Who is Patch the fight he had with Peter the issue before. As a result,
the stoolie? What is Frederick Foswell up to? And the Liz Allen is now angry at both boys. Meanwhile,
biggest one of all: the Crime-Master and the Goblin Peter’s identity as Spider-Man is nearly discovered
exchanged each other’s secret identities, and the when he switches his cheap, store-bought Spider-Man
Crime-Master had the foresight to place the Goblin’s costume for the real thing captured by Prof. Smyth
in a secret safe deposit box to be opened by the at the conclusion of issue #25. With those plot
police in case of his death. Well, the Crime-Master points taken care of, the story moves on to Peter’s
died at the end of this issue, the graduation, a seemingly mundane
identity of the Goblin on his lips, but event that in its own way, was as clear
the safe deposit box was never a dividing line between the years of
mentioned again! Meanwhile, our hero’s consolidation and the grandiose years
travails continue to unfold: his cheap as the more cosmic events just beginning
costume falling apart, Peter falls into the to unfold in such titles as the FF and
river trying to retrieve his camera; tired Thor. One of Lee’s most important tools
of Jameson’s stinginess, Peter sells his in consolidating his line of super-hero
pictures to the Globe instead of the Bugle; comics into a realistic, coherent universe
finally, giving up the search for his old was to stage events that would not only
costumes, Peter is forced to sew himself prove irrevocable, but move the personal
a new one. It was issues like these that history of his characters forward.
were setting readers at the time on their With events like Peter’s graduation,
collective ears and drawing ever more Lee signaled readers that Marvel’s
fans to Marvel’s books. But it was a pace characters would grow and change just
neither Lee nor Ditko could keep up as they would and not remain static like
and all too soon would eventuate in those of the competition’s. To that end,
Classic crime and Amazing Spider-Man #28 concludes with
the break-up of the team. gangster films such
a definite feeling that like real life, Peter
as Scarface were a
Amazing Spider-Man #28 clear influence on will now leave behind the world of his
“The Menace of the Molten Man!”; Ditko whose New youth and enter a newer one with new
Stan Lee (script), Steve Ditko York City under- problems and new acquaintances.
(co-plot, pencils & inks) world of suited and Throughout, Lee writes with humor
Cover: Steve Ditko (pencils & inks) fedoraed gangsters and warmth, capturing the human
owed more to
Although pathos has been a word often Dashiell Hammett
adventure rather than emphasizing the
used to describe the trials of Peter than Mario Puzo! super-heroic nature of Peter Parker/
Parker, alias Spider-Man, fun is one that Spider-Man, while Ditko no less touches
can be used at least as often. Beyond visually on the everyman aspect of
Amazing Spider-Man #28’s (Sept. 1965) striking Ditko “Peter Parker with characters that not only look like
cover, (which depicts a glistening Molten Man and a real people, but who also share the same feelings as
web-highlighted Spider-Man against an all black real people.
background), lay the origin of the Molten Man and
Spider-Man’s action-packed encounter with him. Amazing Spider-Man #27, page 16 (opposite
For page after page, Ditko choreographs a fight page). Little, if anything, may ever go right for
with an effortless panel-to-panel progression that our hero, but predicaments such this one with
a store-bought costume becoming totally
matches anything Kirby was doing on his titles. But
unmanageable would have to be up there on the
unlike other heroes, the battle is never easy for our scale of absurdities to endure!
hero as Spider-Man spends most of his fight with the

Tales of Suspense #66 he was created by us, by a society that cared too little for
“If I Fail, A World Is Lost!”; Stan Lee (script), the needy and oppressed in its midst. By comparison
Don Heck (pencils), Mike Esposito with this powerful tale, the “Iron Man” story in the
[as Mickey Demeo] (inks) front of the book, although well executed and written
“The Fantastic Origin of the Red Skull”; Stan Lee as usual by Heck and Lee, hardly measures up.
(script), Jack Kirby (pencils), Chic Stone (inks)
Cover: Jack Kirby (pencils), Frank Giacoia (inks) Undersea shenanigans with Attuma just don’t cut it
against social commentary, the nature of evil and the
It wasn’t often done that a whole story would be given hope and faith espoused by Captain America.
over to telling the origin of a villain, but Marvel made
two exceptions during these years: Dr. Doom in Sgt. Fury and His Howling Commandos #18
Fantastic Four Annual #2 and the Red Skull here, in Tales “Killed In Action”; Stan Lee (script),
of Suspense #66 (June 1965). Once more it’s the Dick Ayers (pencils), Chic Stone (inks)
Kirby/Stone team that perform the art honors and Lee, Cover: Jack Kirby (pencils), Chic Stone (inks)
as usual, who provides the script for one of Marvel’s What could be more appropriate to wind up this
greatest stories. Unlike Dr. Doom (who at least was survey of the years of consolidation than with a look at
allowed to be a member of the human race!), the Red Sgt. Fury and His Howling Commandos #18 (May 1965)?
Skull was the personification, the embodiment of pure Released just on that borderline dividing this phase
evil. “Whenever a city was leveled, a town was sacked, with the next, more serious one, it nevertheless featured
the Red Skull was there!”, he tells a captured Captain a subject that would become increasingly common as
America. “Whenever there was injustice, tyranny, the years passed: death, sudden and tragic. Readers
ruthlessness, the Red Skull was there!” But Nazism had already witnessed the deaths of Baron Zemo and
provided only a backdrop to his origin, because what Franklin Storm (the father of the FF’s Torch and
the Skull represented was infinitely more complicated, Invisible Girl), and in the years to come they’d also be
and perhaps damning, than that. Portrayed here as a subjected to the deaths of such characters as Frederick
social outcast, hated and despised by everyone from Foswell and Gwen Stacy, but perhaps the most
the street toughs who stole his food to the police who poignant is the one that occurs in “Killed in Action.”
threw him in jail to the employers who treated him like A more fully rounded character than those of Zemo and
an animal, those responsible for the Skull’s creation Storm, Pamela Hawley is killed during a Nazi air raid
weren’t necessarily Hitler (who trained him) or the on London. Although not seen too often in the series,
storm troopers (who set him his example). The Skull’s Pamela had nevertheless been around for quite some
hate was already in him even before he joined the time and had become a calming influence on Nick Fury,
Nazis. No, the damning truth of the Red Skull was that her gruff American suitor. Quietly, subtly, she’d become
an endearing personality as well to fans of the strip who
perhaps looked forward to seeing a permanent union
of the two characters. Fury it seemed, had the same
idea. As the story this issue opens, he buys an
engagement ring for Pamela, but before he can present it
to her, duty calls again in the form of another impossible
mission. But unfortunately for Fury, he’s doomed never
to lay eyes on Pam again as, upon returning, he learns
of her death while she was helping the wounded
during an air raid. Curiously, despite Dick Ayers’
penciling of the body of this story, Kirby obviously
contributes an uncredited splash and final page. Maybe
Lee thought that Ayers’ initial efforts lacked the
emotional intensity the scenes demanded. In any case,
Kirby has the last word this issue with his simply
“Whenever there was injustice, tyranny, designed, but emotionally charged final page. There,
ruthlessness, the Red Skull was there!” The Fury is shown getting the bad news and, wracked with
Red Skull was less a man than the personifi- grief, walks forlornly into the distance. Lee’s accompa-
cation of evil. It was his spirit that reigned nying script provides the perfect coda to an era of
over such places as Auschwitz where the Nazi consolidation that began in awkward discovery,
regime brought millions of people to die of continued with a strong sense of obvious fun and ended
torture and maltreatment.
with hints of the seriousness expected of maturity.

Marvel Book C:Marvel Book 8/20/09 5:34 PM Page 95
Part III
The Grandiose Years
M arvel Comics’ Silver Age stretched across at foundation of the Marvel style in place, Lee would
least ten years (1960-1970) and over that time pursue a deliberate sense of humanism, adapting
developed from the self-contained, single- his comics to the spirit of the times (the 1960s) which
issue stories common in the industry, to longer tales resulted in comics written and conceptualized in such
involving mature subjects and more complex a way as to appeal to adults as well as children.
themes. Dividing the company’s progression over Furthermore, it seems that in the first two phases, Lee
this period into four phases allows for a clearer was pretty much in the driver’s seat, directing the
understanding of how editor course of his entire line of new
Stan Lee, aided by his stable of books while infusing them with
artists, moved from one phase to doses of “reality” in the form of
the next. Although far from characterization, continuity and
proven, it’s the contention here real world problems. To be sure,
that in the first phase, the early, in Kirby and Ditko, Lee had a
formative years, Lee was not pair of protean talents, each of
working according to any plan whom needed guidance of one
beyond approaching super- kind or another. Nevertheless, it
heroes in a more realistic way. It was Ditko, perhaps due to his
was in the second phase, the closer partnership with Lee
years of consolidation, that he during the pre-hero days, who
became conscious of themes he’d became the first of the two artists
inadvertently raised in the first. to be allowed strong input on the
Using such literary tools as the strips he was assigned. From the
continued story and crossovers, very beginning, he placed his
he extended these new ideas to stamp on the Amazing Spider-Man,
all the company’s heroes and in In the grandiose years, editor inventing many of the details of
the process created a multi-textual Stan Lee would keep increasingly the character and soon after
shared universe. outsized story concepts becoming heavily involved in the
In the grandiose years to be grounded in overarching book’s plotting and characteriza-
humanist sensibilities.
considered here, with the tion. By Lee’s own admission, it
The Grandiose Years 95

embarked on speaking tours to college

campuses around the country, gave
interviews to newspapers and otherwise
became not only the voice, but the face
of Marvel Comics. Although he
continued to script the company’s major
books and had writer Roy Thomas
filling in more of the gaps, Lee was
spending less time in the office tending
to his editorial duties.
Thus, with the company abandoned
by Ditko, with decreasing oversight by
Lee and little creative competition from
the new artists, it was Kirby’s vision,
fully awakened to the new way of doing
comics that became the undisputed,
active force behind the full flowering of
What had been largely a fiction in the early years had Marvel’s evolution into its grandiose
become a reality in the grandiose years: the Marvel bullpen phase. With the freedom given by stories
in the late 1960s/early 1970s. that could be continued from issue to
issue for as long as the plot demanded,
was Ditko himself who suggested the idea of Dr. strengthened by the use of a shared, coherent, self-
Strange and who worked at least as an equal partner contained universe, and imbued with a semblance of
with his editor in developing the strip. Meanwhile, realism, Marvel was now able to take its readers
although certainly contributing to the books he either to the ends of the universe in cosmos-
worked on, Kirby’s wild talent presented Lee with a spanning adventures or to the streets of New York
problem beyond simple collaboration. A fount of City to experience the anguish of drug abuse, racism
creativity, Kirby was less able to control the excesses and environmental pollution. The resulting mix
of his imagination and had little time for the would change comics forever.
nuances of characterization and the subtleties of
psychological motivations. He required a firmer Marvel Tales Annual #1
editorial hand, and throughout the grandiose years “Spider-Man”; Stan Lee (script), Steve Ditko
Lee supplied that. As a result, the two working (pencils & inks); reprinted from Amazing Fantasy #15
together, became the greatest creative team in the “The Coming of the Hulk”; Stan Lee (script),
Jack Kirby (pencils), Paul Reinman (inks);
history of comics. reprinted from Incredible Hulk #1
But just as Marvel was poised to enter upon the “Return of the Ant-Man”; Stan Lee (plot),
era of its greatest artistic achievement, the roof fell in Larry Lieber (script), Jack Kirby (pencils),
when Ditko unexpectedly left the company. Dick Ayers (inks); reprinted from Tales to Astonish #35
Although little was said officially beyond wishing “The Birth of Giant-Man”; Stan Lee (script),
the artist luck, in reality Ditko’s departure was cause Don Heck (pencils & inks); reprinted from
for real concern, especially for the Spider-Man strip Tales to Astonish #49
which was really beginning to take off in popularity. “Sgt. Fury and His Howling Commandoes”;
Luckily for Marvel, Lee had already been reaching Dick Ayers (inks); reprinted from Sgt. Fury #1
out in search of new artists and among them recruited “Iron Man Is Born”; Stan Lee (plot), Larry Lieber
former Timely penciler John Romita who, unlike (script), Don Heck (pencils & inks); reprinted from
other artists that failed to adapt to the Marvel style Tales of Suspense #39
of storytelling, quickly found his footing first on “How Iron Man Created His New Thinner Uniform”;
Daredevil and then when he replaced Ditko, on Stan Lee (script), Steve Ditko (pencils), Dick Ayers
Spider-Man. Other incoming talent included John (inks); reprinted from Tales of Suspense #48
Buscema and Gene Colan among the veterans and “The Stone Men from Saturn!”; Stan Lee (plot), Larry
Lieber (script), Jack Kirby (pencils), Dick Ayers (inks);
as the grandiose years drew to a close, newcomers reprinted from Journey Into Mystery #83
such as Wally Wood and Jim Steranko. Cover: Steve Ditko amd Jack Kirby (pencils),
Meanwhile, Lee found himself caught up in the Steve Ditko and Frank Giacoia (inks)
growing popularity of the Marvel phenomenon as he

What, a reprint to lead off the most important, most even by 1964) as artists
influential, and perhaps most fertile period in Jack Kirby, Don Heck,
comics’ nearly sixty year history? There are no clear Dick Ayers, Joe Orlando,
demarcation lines dividing the four phases of inkers Paul Reinman, Chic
Marvel’s development, only the more problematic Stone, Vince Colletta and
overlap of themes and ideas as each title in the letterers Sam Rosen and
company’s line evolved at its own pace, but in casting Artie Simek. Pictures even
about for some sign, some visible evidence of the included those for Flo
shift in Marvel’s fortunes there couldn’t be a more Steinberg, the subscription
handy example than Marvel Tales Annual #1 (1964). department’s Nancy
First, with barely two, maybe three years of super- Murphy and the compa-
hero comics production under its belt, the release of ny’s college “campus
this jumbo, 72-page book seemed to indicate a representative” Debby
steady rise in the company’s readership. Ackerman! Of course, a
Furthermore, part of that demand probably grew cigar-smoking Stan Lee
out of the fact that Marvel’s heroes were all part of a Flo Steinberg, Lee’s was also represented
shared universe and more importantly, possessed gal Friday, left (significantly, in second
individual backgrounds that continued to develop Marvel by the place behind publisher
over time. When new readers began buying Tales to grandiose years to Martin Goodman!) looking
strike out on her
Astonish for instance, they would eventually discover sporty in a jauntily
own in the world
that Giant-Man had once been Ant-Man (who didn’t of underground cocked fedora. These
have the Wasp to whisper sweet nothings to!) and comics. were also the months
that Iron Man had once sported a dull-gray robotic which saw the launch of
look before his newer, more up-to-date red and Marvel’s first fan club,
gold armor. Those readers, which the company the MMMS (Merry Marvel Marching Society) and
was constantly attracting, needed to be brought up soon, its first, infamous foray into television animation.
to speed! And so this issue’s collection of somewhat So in a development that was far from cut and
edited reprints of the origin stories of Spider-Man, dried but whose elements were being eagerly
Hulk, Giant-Man, Thor, Iron Man and Sgt. Fury. A identified and embraced by an ever growing
second, and perhaps even more significant element readership, this issue of Marvel Tales can serve as
in this book was the utterly unique addition of a a convenient signpost of things to come: the end
two-page spread featuring photos of the Marvel of the period of consolidation as Lee prepared to
bullpen. Almost from the start, Lee had included launch his line of now successful comic books
credits for the creators of his comics which included into their most fecund period, the most remarkable
the writer, artist, inker and even letterer. No other in the whole history of comics.
comics company (with minor exceptions) had ever
done that before. Coupled with a friendly, open Journey Into Mystery Annual #1
editorial voice used on letters pages, upcoming “When Titans Clash!”; Stan Lee (script),
news items and self-deprecating copy on the covers Jack Kirby (pencils), Vince Colletta (inks)
of his books, Lee managed to create a rapport with “Trapped by Loki, the God of Mischief!”;
Stan Lee (plot), Larry Lieber (script), Jack Kirby (pen-
readers unique in comics (save perhaps for the EC cils), Dick Ayers (inks); reprinted from
comics line of the 1950s which was still a far cry Journey Into Mystery #85
from the intense loyalty Marvel would instill in its “The Mysterious Radio-Active Man!”; Stan Lee (plot),
fans). To millions of readers, Lee himself became as Robert Bernstein [as R. Berns ] (script),
familiar to them as their own teachers, scout leaders or Jack Kirby (pencils), Dick Ayers (inks);
perhaps even their parents. Soon, they wanted to reprinted from Journey Into Mystery #93
learn more about Lee’s extended “family,” adorable “The Demon Duplicators!”; Stan Lee (plot), Robert
Artie Simek, Jack “King” Kirby, sturdy Steve Ditko Bernstein [as R. Berns ] (script), Joe Sinnott (pencils &
inks); reprinted from Journey Into Mystery #95
and even fabulous Flo Steinberg, Lee’s secretary! “The Mighty Thor Battles... the Lava Man”;
Without giving too much personal information Stan Lee (script), Jack Kirby (pencils), Don Heck (inks);
away, Lee obliged over the years with details reprinted from Journey Into Mystery #97
dropped here and there and in particular, with this Cover: Jack Kirby (pencils), Vince Colletta (inks)
issue’s photo feature putting faces to such names
Another signpost on the road to the grandiose years
(which had become familiar to every Marvel fan

was Journey Into Mystery Annual #1 (1965) which featured the first the action takes place at an
meeting of Thor and Hercules. Appearing as the regular “Thor” series indeterminate time, but obviously
was still in the final months of the more lighthearted years of before Thor had learned his lesson
consolidation (when the inking of Chic Stone over Jack Kirby’s pencils in humility for which Odin had
was still what defined the look of Marvel’s books at the time), “When banished him to Earth in the guise
Titans Clash” was actually nothing more than a full-length episode of the of crippled Don Blake. But the
“Tales of Asgard” feature that had been appearing in the back of the regular most important thing that separates
Journey Into Mystery title since that book’s issue #97. Like those stories, this story from the series’ regular
run was the inking over Kirby of
Vince Colletta. Although Colletta
had been assigned to work over
Kirby’s pencils for “Tales of Asgard”
almost since its beginning, up to
now he’d not yet contributed to
the regular “Thor” strip. This story,
more than any other, probably
cemented him in Lee’s mind as the
perfect inker to take over the
regular Thor feature
from the soon to
depart Chic Stone.
Sure, his work on
“Tales of Asgard”
had given those
stories the epic,
antique feel they
demanded, but it
was here, for the
first time, that
Colletta’s hair-thin,
inking style (that seemed devoid
of large areas of black used to give
figures weight and heft, but that
was also an artistic concept yet to
be fully explored by the time of the
Middle Ages, an era whose crude
woodcuts most reflected the art
style needed by the “Thor” strip)
captured the elusive quality of
otherworldly drama that the strip
would increasingly demand as Lee
and Kirby took it away from the
everyday world of super-villains
to a mythic plane where the forces
of evil were on a far more

gargantuan scale. Despite the
serendipity of the two men’s
styles, Colletta would later be
criticized, with good reason, for
compromising Kirby’s artistic
vision by eliminating much of the
Journey Into Mystery Annual #1, page 11. Mythologies clash and detail that the artist put into his
comparative religion classes will never be the same! The son of
work. Be that as it may, what
Odin dukes it out with the son of Zeus.
Colletta chose to keep, he rendered

in such a way that showed off aspects of Kirby’s art

that no inker before or since has ever been able to
reproduce. In this issue’s story for instance, where
Kirby has chosen to lay it out in big,
quarter-page panels, Colletta outlines the
bulky figures of Thor and Hercules in thin,
scratchy lines that reflect more accurately
the original look of the penciled art than
heavier blacks would have done. With
Lee’s use of wording that convincingly
suggested what the high-flown language
of the gods must’ve sounded like, the
team’s combined effect gave fans the feeling
that they weren’t reading just another
comic book story, but an adaptation of
actual legend. Even the story’s set-up
seemed vaguely legendary: wasn’t there
an old story about two stubborn characters
encountering each other from opposite
ends of a bridge and, each refusing to yield to the
other, end up fighting over it as a point of honor?
Robin Hood and Little John maybe?
Strange Tales #135

“The Man for the Job!”; Jack Kirby (plot & pencils),
Stan Lee (script), Dick Ayers (inks)
“Eternity Beckons!”; Steve Ditko (plot, pencils
& inks), Stan Lee (script)
Cover: Jack Kirby (pencils), Frank Giacoia (inks)
As the years of consolidation drew to a close, Lee Captured in a series of wildly popular films,
seemed to take stock of everything that’d been Ian Flemming’s James Bond character
accomplished since the advent of the FF. From their dominated pop-culture in the 1960s and
beginnings, he’d been the writer of the Fantastic Four, enabled the launch of one of Marvel’s most
durable concepts.
Spider-Man, the Avengers and X-Men and Sgt. Fury.
Now, as the growing popularity of Marvel’s hero
titles became more important to the company, he’d international success and were followed by a legion
begun to take over the scripting chores on the remaining of imitators on both the big and silver screens). On the
strips, too: “Thor” in Journey Into Mystery, “Giant-Man” other hand, the idea was a natural as a starring vehicle
in Tales to Astonish, “The Human Torch” in Strange Tales. for Nick Fury whose present day position as an agent
Next, he dropped the last remnants of the company’s for the CIA had already been established as early as
five-page mystery stories and replaced them with new FF #21. Lee, as he’d done in the past, assigned Kirby
hero strips such as “Captain America,” “Dr. Strange” to kick-start the series, and together the two not only
and a revived “Hulk.” But when taking over the writing dreamed up some of the wildest concepts any spy
of some of the older features failed to strengthen series could have (life model decoys or LMDs, a
them, Lee adopted more draconian measures. Thus, suped-up Porsche 904 that made Bond’s XKE look
in the final months of the years of consolidation, like a kiddie car, and an impossible, giant, flying
“Giant-Man” was replaced in Astonish by a new “Sub- “heli-carrier” headquarters!), but in Hydra, also
Mariner” strip and the “Human Torch” feature was provided SHIELD with the most perfectly realized
dropped from Strange Tales #135 (Aug. 1965) in favor and long-lasting group of international bad guys this
of an entirely new concept: Nick Fury, Agent of side of Bond’s Spectre (as a matter of fact, they were a
S.H.I.E.L.D. Obviously an attempt to take advantage lot better!). Unfortunately, Kirby was only on the strip
of the interest at the time of anything to do with spies for its first installment, and although John Severin
was a motivating factor in the creation of this new performed good service on the next few chapters
super-espionage strip (the James Bond films were an (with Kirby himself providing layouts), the strip

would suffer from a parade of less camp of super-heroes rather than super-villains. And like the Human
successful efforts by a number of Torch, Namor had also had a strong popular background during the 1940s
artists until the arrival of Jim which may have, in Lee’s considerations, further enhanced his potential as
Steranko with #151. Not to be a headliner. Unlike most of the company’s other strips however, Kirby
forgotten, this issue also includes wouldn’t be called on to set the tone for the new feature. As usual, he
the latest chapter in an ongoing Dr. supplied the cover, but the insides sported the art of Adam Austin, a
Strange serial as the master of the newcomer to the Marvel bullpen (although not necessarily to the company
mystic arts finds himself on the itself, having done some work for it in the 1950s). Austin (as any alert
run from Baron Mordo and the
minions of the dread Dormammu.
Lee and Ditko by this time had the
good doctor down pat with Ditko
especially fine penciling, inking
and plotting the feature (for which
he was, as with Spider-Man,
getting credit on the splash page)
filling it with hypnotized figures,
phantom wraiths, fog-bound
mansions and portals to other-
worldly dimensions, all as Dr.
Strange ranges the globe in search
of the mysterious “Eternity!”
Comics didn’t come any better
than this 12-cent bargain!
Tales to Astonish #70

“The Start of the Quest!”;
Stan Lee (script), Gene Colan
[as Adam Austin] (pencils),
“To Live Again!”; Stan Lee (script),
Jack Kirby (pencils), Mike Esposito
[as Mickey Demeo] (inks)
Mike Esposito (inks)
The same month
the “SHIELD “strip
began in Strange
#135, the Sub-
Mariner received his
own berth in Tales to
Astonish #70 (Aug.
1965). A number of
factors seemed to
set the stage for

Namor’s own solo
adventures. Gaining
steadily in popularity since his first
Silver Age appearance in FF #4 and
in the process being freed at last
from the romantic triangle formed
Tales to Astonish #70, page 10. Any comics fan who failed to see
between himself, Sue Storm and through the Adam Austin byline and recognize the unique art style
Reed Richards, the sea prince had of Atlas veteran Gene Colan should have been required to turn in
since fallen more solidly into the their MMMS card!

comics fan was sure to notice due to his distinctive art fact, it’s unclear from this issue whether Lee or Kirby
style), was really Gene Colan who would later go on to themselves knew the full extent of what they were
do yeoman service for Marvel, especially in its twilight doing. For instance, although it was a neat idea to
years, which he virtually dominated. The choice of Colan reveal that Madame Medusa, the female member of
to do the art, proved serendipitous as his fluid, even the Frightful Four, was actually a member of a hidden
rubbery figure work went well with depictions of civilization of super-powered beings, the personality
Namor’s hazy underwater world. Again, Vince Colletta (and looks!) of Gorgon (who’s hunting Medusa down to
was assigned to do the inking, and like his work on forcibly return her to the great refuge) was seemingly
“Thor,” added weight and power to Colan’s figures out of character in light of the true state of affairs in
while his work on all the various subsea monsters Attilan (which would be revealed in later issues). The
Namor would combat over the course of the series was problem might lie in the working relationship between
especially good. Meanwhile, Lee, slowly learning the Lee and Kirby. In the early, formative years, Lee had
value of tailoring his scripting style to particular strips, written full scripts including complete plot, script and
gave the whole feature maybe even directions for
an air of royalty and layout from which Kirby
grandeur from Namor’s then drew a story. As time
all too frequent outbursts passed and Marvel moved
of “Imperius Rex!” to his into its years of consolida-
depiction as an aloof tion, the collaborative
monarch that had much method changed, giving
too high an opinion of Kirby more control over
himself. With the substitu- story direction. This was
tion of the “Sub-Mariner” the beginning of the
for the “Giant-Man” strip, “Marvel method” in
Astonish now featured which Lee would provide
the unique pairing of two Kirby with a bare plot
of Marvel’s strongest (perhaps hashed out in
hero-villains. Both strips personal story conferences
were written as serials, but or over the phone), allow
where Namor’s would Unsung heroes dept: if Kirby was Marvel’s him to fill in the gaps and
unfold in the form of a fastest, most prolific penciler, imagine how fast then supply the script
quest with the hero these guys had to be to keep up with him! If himself upon receipt of
anyone wanted to find out just how important
directing his own actions, the role of letterer was to a successful, good
the artwork. Still later,
the Hulk merely reacted to looking comic book, they needed to look no perhaps around the period
whomever (whether the farther than low budget Charlton that settled of this issue, Lee may have
Leader or the military) for the services of “A. Machine” instead of the provided Kirby with even
forced their attentions on warm, easy on the eyes style of Artie Simek (left) less direction. The result
and Sam Rosen!
him. Here, drawn by was an increasingly loose
Kirby (who’d taken over plot structure that Kirby
the strip from Ditko in #67), the action follows the would take longer and longer to resolve. Where some
Hulk’s escape from the evil Leader who wastes no time stories had once become two-parters in the years of
in hatching another scheme to earn a quick billion consolidation, they now became in the grandiose years,
dollars from the Soviet Union in exchange for destroying long and rambling. Stories, sometimes composed of
the US missile base where Bruce Banner is stationed! more than one plot unfolding at the same time, began
Like Strange #135, a reader couldn’t get a better deal for to stretch across four or more issues, sometimes it
12 cents than a book like this! seemed they never really ended, merging as they often
did from one to the next. And far from reining Kirby in,
Fantastic Four #44 Lee, seeing that the process didn’t hurt the bottom line,
“The Gentleman’s Name Is Gorgon”; Stan Lee (script), began to adopt the style for himself, producing
Jack Kirby (pencils), Joe Sinnott (inks) multi-part epics with other artists on strips such as
Cover: Jack Kirby (pencils), Vince Colletta (inks) Daredevil and Spider-Man. In any case, the rambling,
Whether anyone knew it or not, the grandiose years endless plotlines seemed to have their beginnings as far
began in earnest here, with Fantastic Four #44 (Nov. back as FF #38 (which featured the Frightful Four’s
1965) and the opening chapter of the Inhumans saga. In defeat of the FF), the subsequent loss of the FF’s powers

Joe Sinnott
T he inker who gave visual continuity to the Fantastic Four from Kirby
to Buscema to any number of artistic successors, actually began his
career as a penciler. Sinnott learned his craft at the Cartoonists and
Illustrators School that he attended on the GI Bill after being dischared
from the Navy. Later, he began to work for Stan Lee at Atlas by ghosting
for another artist. He met Lee in person when he finally approached the
editor for work. He was hired and worked on a multitude of strips until being laid off
in 1957. But when work picked up again, Stan called him back, and although he began
where he left off as a penciler, he soon transitioned to inking and his name became
inseperable from that of Kirby due to their collaboration on the Fantastic Four.
in #39, the Thing’s resignation and recruitment by the down), works for the insane Maximus, who’s seized
evil FF in #41 and the fight between the two groups the throne from Black Bolt, the rightful ruler of
leading up to #43. With the escape of Medusa and her Attilan. Thrown from power, the royal family has fled
appearance this issue on the run from Gorgon, the into the outer world of humans only to be pursued
Inhumans saga would evolve into the Galactus trilogy by agents like the Seeker. All of this would be
with #48, conclude in #50 and have an epilogue in #51 revealed over the next couple of issues, but in the
before the strip began its next multi-part cycle. Also of meantime, Lee and Kirby didn’t seem to be quite on
significance this issue, was the arrival of Joe Sinnott on the same page in “Among Us Hide…the Inhumans.”
the inks. Replacing the parade of inkers that had Complicating matters further is the (wholly
worked on the strip since the departure of Chic Stone unnecessary!) presence of the Dragon Man, a
with #38, Sinnott added the power and grandeur to creation of FF villain Diablo. Revived in the
Kirby’s pencils that had only been suggested by others. preceding issue, the FF ended up caught between
Like Colletta’s work over Kirby on “Thor,” Sinnott’s Dragon Man and Gorgon. They manage to stop
particular inking style would prove a perfect match for Dragon Man but lose Medusa in the process. This
the hard-edged, science-fictional worlds inhabited by issue, the team spends half its time trying to figure
the FF. These elements, the multi-part epic, once petty out what to do with Dragon Man while Johnny goes
villains transformed into awe-inspiring menaces, Kirby for a walk (in the meantime, over at state prison,
and Sinnott’s dramatic, powerful artwork combined the remaining members of the Frightful Four
with Lee’s penchant for melodrama and word-craft ponder escape…). The long arm of coincidence
all combined to create the “grand style” that would strikes when Johnny comes across a mysterious girl
characterize the creative zenith of Silver Age Marvel. with strange elemental powers who mistakes him for
one of the Inhumans. It turns out she’s a member of
Fantastic Four #45 the royal family and introduces him to her relatives:
“Among Us Hide the Inhumans”; Stan Lee (script), Jack Medusa (her sister!), Gorgon, Karnak, Triton (her
Kirby (pencils), Joe Sinnott (inks) cousins) and Lockjaw (her dog!). Of course, Medusa
Cover: Jack Kirby (pencils), Joe Sinnott (inks) (who doesn’t seem very angry at being returned to
Following the previous issue’s action, things in a group she was desperate to avoid last issue)
Fantastic Four #45 (Dec. 1965) get complicated! recognizes him. Escaping, the Torch signals for the
Remember how it seemed that Gorgon was a kind of rest of the FF who come riding to the rescue on
bad guy sent to bring back Medusa into the Reed’s new airjet-cycle (“It’s a stripped-down
Inhuman fold? Well, it turns out that all he wanted whirlybird!” “It’s a turbo-powered racing car!” “It’s
to do was to return her to the arms of her family who a flying bicycle!” “Whatever it is, I don’t believe it!”)
are in turn hiding out from someone called the The issue ends in a cliffhanger as Black Bolt, the final
Seeker. The Seeker, (who’s doing the real hunting member of the Inhumans, makes the scene.

Fantastic Four #46 Fantastic Four #47

“Those Who Would Destroy Us”; Stan Lee (script), Jack “Beware the Hidden Land”; Stan Lee (script),
Kirby (pencils), Joe Sinnott (inks) Jack Kirby (pencils), Joe Sinnott (inks)
Cover: Jack Kirby (pencils), Joe Sinnott (inks) Cover: Jack Kirby (pencils), Joe Sinnott (inks)
The mayhem continues in Fantastic Four #46 (Jan. By all rights Fantastic Four #47 (Feb. 1966), “Beware
1966), “Those Who Would Destroy Us”, as the FF the Hidden Land,” should’ve been the climactic
clash for the first time with the Inhumans. Here chapter of the Inhumans saga. But it wasn’t. A
we learn that besides being the most powerful of perfect example of both the ongoing evolution of the
the group, Black Bolt dare not utter a single whisper continued story during the grandiose years and
lest the sound of his voice destroy everything Lee’s loosening grip on the plotting of the book, the
around him, that Karnak possesses some kind of Inhumans storyline wouldn’t end at the conclusion
super-karate skill allowing him to shatter any of this issue as any reader would have had a right
object with the slightest blow of his hand, that to expect (after all, the coming attractions blurb
Triton is a kind of on the letters page said
Creature from the Black that something called
Lagoon who cannot survive “Galactus” was coming),
away from water without but right smack dab in the
protective clothing, and center of the next! It was a
that Gorgon can cause blurring of plot lines that
earthquakes simply by would in effect make the
stamping his hoof-like next twenty or so issues of
feet. Crystal, the girl who the title a single, long-
first led Johnny to the running but loosely
Inhumans, controls the connected story. In fact,
elements of fire, air, earth some of its elements even
and water. Even her dog reached back to the events
Lockjaw, has a special of the Frightful Four/Dr.
power: traveling between Doom stories of issues
dimensions! Captured 38-43! But that’s ancient
later by the Seeker (along history, as this issue the FF
with Triton), the FF learn As the number of comics Marvel published find and invade the Great
that the Inhumans had began to grow, the role of production manager Refuge! First though, they
their origin far back in John Verpoorten (here seen with assistant have to take time out to
Holli Resnicoff) became an increasingly
Earth’s history. They save Triton’s life and
important one.
were normal humans keep Dragon Man from
once, but had themselves destroying New York.
genetically altered to acquire super-powers. Meanwhile, Lee and Kirby still seem confused!
Those powers were needed to protect them Last issue we saw the Inhumans vanish in a panic,
against the more primitive and more numerous fearful of being captured by the Seeker (who is
humans who feared them because of their superior hunting them down with the express purpose of
civilization. Removing themselves from mankind, sending them back to Maximus right?) But here, we
the Inhumans built a hidden city in the see them arrive inside the Great Refuge as Medusa
Himalayas (or was the Andes? Lee couldn’t seem says, “We’re safe at last! In the Great Refuge where
to make up his mind!) called the Great Refuge. we belong!” Huh? If they had nothing to fear in
But all that came later in the book, after the returning to the Great Refuge where Maximus
Inhumans escaped from the FF and the Seeker reigns as king, why were they acting so fearful in the
had broken in to the Baxter Building and taken previous two issues? Then there’s this from a flunky
Dragon Man (whom he mistook for a fellow of Maximus’: “Gorgon has recaptured Medusa, as
Inhuman). It was when the FF followed the you commanded!” Huh? Sure, Gorgon looked like
Seeker’s trail to his hideout that they were captured. one of the bad guys in FF #44, but then he brought
But things didn’t stay that way for long as Medusa back to where the royal family was hiding
Dragon Man breaks free, smashing Triton’s water as if he was on their side. But if he was working for
tank and leaving the Inhuman gasping for breath Maximus all along, why would the others let him
on the floor! know where they were? Now we learn that besides
seizing the crown, Maximus comics would be measured. Fantastic Four #48 (March 1966) would be
wants Medusa to marry him. the start of a story whose permutations effected not just the FF but the
And what does she say to this whole world. Galactus, although he looked like a human being and rode
preposterous demand? “None through space in a ship, was far from an ordinary mortal. Anyone who
may refuse a royal command!” So could devour worlds and destroy whole galactic systems was far from
much for superior civilization! human and his arrival on Earth boded almost certain doom for every
To top off this whole confused living being on the planet. Beside such a menace, villains like the
mess, Black Bolt just reaches out,
takes the crown from Maximus
and places it on his own head
followed immediately by Maximus’
servile acceptance! If that was all
there was to the problem of the
usurpation, why did the royal
family flee in the first place? One
thing was for sure, the state of
royal affairs among the Inhumans
made bad PR for monarchy over
democracy! While all these affairs
of state are going on, in drops the
FF as Crystal dashes into Johnny’s
arms (and after what was seen of
the government of the Great
Refuge, who could blame her?).
But as the Inhumans and the FF
argue, Maximus slips off to activate
his deadly atmo-gun…
Fantastic Four #48

“The Coming of Galactus!”;
(pencils), Joe Sinnott (inks)
Joe Sinnott (inks)
It might be hard to believe after the
confused shenanigans of the
Inhumans saga, but
the next storyline
(which begins in the
middle of this
issue!) would be its
complete opposite. © 2009 Marvel Characters, Inc.
The Galactus trilogy

was what the
grandiose years
were all about, the
culmination of
everything that had
been building from the early,
formative years through the years of Fantastic Four #48, page 7. The end of one story and the
consolidation. It would be Silver Age beginning of another. A loosening of the editorial reins allowed
Marvel at its creative, imaginative Kirby more freedom to plot stories any way he wanted,
peak, the grand style writ large, resulting in those that didn’t necessarily end all nice and tidy
by the last page of a book.
the rule by which all subsequent

Frightful Four, the Mole Man, even Dr. Doom, paled down the line; here, the Surfer would rebel against his
in comparison. In fact, as news spread of the coming master, have his wings clipped and find himself
of Galactus, readers could imagine Doom and the stranded on Earth. But not before humanity got the
others sitting in as much fearful hope for the success scare of its collective life! That scare begins on page 10
of the FF as any helpless resident of New York! So as the population of New York City is thrown into a
maybe it was a good thing the FF didn’t know about panic when the sky over their heads turns first to
the approach of Galactus as they faced the Inhumans flame and then is filled with floating debris. The
in the Great Refuge. Not even featured on the cover effects are caused by the Watcher, who’s decided to
(which was given over to a frightened looking FF break his oath against interfering in events to
accompanied by a towering Watcher gesturing to camouflage the Earth against its discovery by the
something beyond the reader’s view), the Inhumans Surfer. Briefing Mr. Fantastic about the looming threat
must battle Maximus to shut down his atmo-gun, the of Galactus, the Watcher is interrupted when the
purpose of which is to destroy every human on Surfer sees through his subterfuge and lands on the
Earth. But instead of killing roof of the Baxter Building!
the humans, Maximus Wasting no time, the Surfer
inadvertently proves they signals Galactus to land.
and the Inhumans are part Earth’s remaining hours of
of the same genetic stock. existence are now
It happened because the numbered a pessimistic
gun effected both peoples Watcher tells the FF.
the same: that is, not at Then, following one of
all! But the evil madman Kirby’s oddball collages
has one last gambit, that’s supposed to represent
throwing a switch, he Galactus’ descending
encloses the Great Refuge spacecraft, the god-man
in an impenetrable shell of himself arrives. “My
negative energy imprisoning journey is ended!” he
the Inhumans inside and says. “This planet shall
locking the FF out for all sustain me until it has
time. And that’s only page been drained of all
7! Meanwhile, the first hint The not-so-mysterious-after-all Tony elemental life!”
of the coming of Galactus Mortellaro was hired to work in
comes with the appearance production, but also did inks and Tales of Suspense
of the Silver Surfer as he backgrounds on the Spider-Man strip #71
soars through space looking (mostly uncredited) while managing to make “What Price Victory?”;
his presence known on billboards across Stan Lee (script), Don Heck
for a likely planet for his Marvel’s fictional NYC.
master to drain of its life- (pencils), Wally Wood (inks)
“...When You Lie Down With
giving energies. Lee has Dogs...!”; Stan Lee (script),
said many times that the presence of the Silver Surfer Jack Kirby (layouts), George Tuska (pencils), Joe Sinnott
in this story came as a complete surprise to him, (inks), Wally Wood [uncredited] (additional inks)
further proof that he and Kirby were not working as Cover: Jack Kirby (pencils), Wally Wood (inks)
closely in this grandiose phase as they had been in the
In retrospect, the “Iron Man” strip in Tales of Suspense
first two periods of the company’s evolution. What to
#71 (Nov. 1965) seemed like the end of an era.
make of this goofy character who rode on a surfboard of
Although he’d continue on the Avengers, providing
all things? Give Lee credit for turning such a visually
some of his best work of the Silver Age (especially
ridiculous creation into one of the most famous and
when inking himself), Don Heck was leaving “Iron
dramatic comic characters to emerge over the last
Man.” Sure, he still had one more issue to go, but that
thirty-five years. The Surfer’s development here
book’s tale seemed only to act as a footnote to this
would be relatively simple, over a naïve, other-worldly
issue’s concluding chapter of Iron Man’s first epic
sensibility, Lee would eventually expand on the
contest with the Titanium Man. After an excellent
character’s vaguely messianic origins and create in
build-up over the previous few issues, it provided
him a voice that would offer objective commentary
one of the most thoroughly satisfying climaxes of
on the state of mankind. But that was a few months
any series and no small part of that was because of

George Tuska
Though not exactly a fan-favorite during the Marvel Age,
Tuska had the respect of his peers during his heyday in the
1940s and ’50s. Attending the National Academy School of Art,
Tuska found work as an assistant on the Scorchy Smith newspaper
comic strip before moving on to
comics. After leaving the field for
the service, Tuska returned and had
little trouble getting back into harness
with work in comics as well as
newspaper strips during the 1950s
and early ’60s. During that time,
he finished up Scorchy Smith’s run
in the newspapers and then took
over on Buck Rogers. By the mid-’60s,
Marvel Comics was picking up
steam and after doing some fill-in
work here and there, Tuska was
awarded with a regular gig on Iron
Man after the character had won
his own book. At first aping previous penciler Gene
Colan, Tuska’s own style soon asserted itself and he settled
in for a long run on the title.
Heck’s skill. One of the original three musketeers in strip his own and his portrayal of the character the
the pre-hero era of Marvel’s mystery titles (he, Kirby definitive one. It was Heck who gave Tony Stark his
and Ditko practically drew them all with Heck as the dashing good looks and pencil thin mustache, Heck
middle man between Kirby’s lead story and Ditko who introduced supporting characters Pepper Potts
bringing up the rear), Heck had been a mainstay of (whom he deliberately designed to look unappealing)
the company for years. But where Kirby and Ditko and Happy Hogan (whom he gave cauliflower ears
flourished with the coming of the super-hero titles, that Lee later demanded he eliminate) and it was
Heck seemed to languish. Oh, his art was as good as Heck’s handling of the melodramatic twists and
ever, but his strips seemed to move at a more sedate turns of the strip (Stark’s weak heart and eventual
pace than those of the others. Maybe it was fortunate disappearance, Iron Man’s being wanted for murder,
then, that his main assignment turned out to be “Iron Senator Byrd’s investigating committee, Stark’s
Man,” a strip that seemed to demand more subtlety problems with government contracts, sabotage and
than “Thor” or the FF. In on Iron Man from the beginning labor unions, the romantic triangle between Stark,
(he drew the origin story) Heck was nevertheless Pepper and Happy and not least of all, his helping to
replaced by Kirby on the early issues and was later turn the “Iron Man” strip into a Cold War parable)
spelled for a few more by Ditko (who redesigned that made it one of the most successful of the Marvel
Iron Man’s armor). Despite those interruptions line. “Giant-Man,” “Torch” and even “Hulk” had fallen
however (and being initially uncomfortable with the by the wayside, but “Iron Man” always kept on
Marvel method where much of the plotting of a story going. Especially in the year or so of stories leading
was left up to the artist), Heck nevertheless made the up to this issue’s thoroughly satisfying besting of the

Titanium Man. Serving as the ultimate metaphor for

the East/West struggle, the superiority of the
American way of life (symbolized by Iron Man) is
triumphant over the oppression of Soviet style
Marxism (the Titanium Man). Fittingly, “What Price
Victory?” seemed to mark the end of the Communist
threat in Marvel comics which Lee had made a
recurring menace, a threatening subtext in his books,
since the start of his hero titles. Maybe the spirit of
the times was having an influence on Lee (his contact
with young people on college campuses and in his
own letters pages) or maybe it was simply that
villainous organizations like Hydra made the
commies look dull. Whatever it was, Heck’s slam-
bang finish here served as complete a symbolic finish
to Communism as the company was ever likely to Superman’s Girl Friend, Lois Lane #117 and Mr.
get. Soon, a new artist would take over the strip, Mystery #9. The under-appreciated Werner
Heck would concentrate on the Avengers and in a Roth was another artist relegated to the
year or two, his peak years at the company would competition’s romance books before being
cherry picked by Marvel to take over penciling
come to an end, but his run on “Iron Man,” epitomized
on the X-Men.
by this issue (inked by Wally Wood by the way!) will
always stand as one of the major contributions to the
development of Marvel in the Silver Age. Bolivar Trask to hunt down mutants which he
declared a threat to the very survival of homo
X-Men #14 sapiens. Whether he meant it to or not, Trask’s claim
“Among Us Stalk...The Sentinels!”; Stan Lee (script), ignites a fear and hatred of mutants that had only
Jack Kirby (layouts), Werner Roth simmered in previous issues. Now open hostility to
[as Jay Gavin] (pencils), Vince Colletta (inks) mutants breaks out everywhere. In this volatile
Cover: Jack Kirby (pencils), Wally Wood (inks) climate, Prof. X agrees to debate Trask on television.
The X-Men’s role in the grandiose years turned out “Before giving way to groundless fears, we must
to be an unexpectedly minor one. Jumping in early first consider—what is a mutant?” Prof. X tells the
with the Juggernaut two-parter in issues 12 and 13, viewing audience. “He is not a monster! He is not
and continuing through the introduction of the necessarily a menace! He is merely a person who
Sentinels here, the strip seemed to lose steam (and was born with a different power or ability than the
its way) fast. With the conclusion of the Sentinel average human!” For the first time, Lee has spelled
storyline in #16, the strip descended quickly into just out the series’ racist subtext, that the hatred and
plain good stories, then mediocre stories (which distrust of mutants is nothing but a thinly veiled
were interspersed with sometimes even downright metaphor for the real world’s prejudices. And like
bad stories). It wasn’t a pretty sight and although the that real world, the ordinary citizens of the Marvel
strip had good contributions by writer Roy Thomas, universe react predictably: “He’s got some nerve!
artists such as Werner Roth and Jim Steranko and No kid of mine is a mutie!” “I’ll bet he’s a communist!”
more involved storylines like the Factor Three serial, “Nah! He looks like one of those right-wingers to
no one seemed able to bring it into the spirit of the me!” “What does an egg-headed old stuffed-shirt
grand style. With the departure of Magneto and his like him know?” So even as Lee seemed to back
Brotherhood of Evil Mutants in #11, it was as if some away from the more overt menace of international
vital force had left the strip that even the continued communism in strips like “Iron Man,” he was moving
presence of Lee and Kirby (who’d given up doing forward with the development of more subtlely
full pencils on the strip for simple layouts, leaving insidious themes, a course that would become
former romance artist Werner Roth to finish up) characteristic of the grandiose years. Finally, when
couldn’t hold onto. It wasn’t for lack of ideas, though, Trask introduces his mutant-hunting robots to the
as the two men followed up their introduction of audience, the automatons rebel. Then, in a running
the Juggernaut with an equally interesting menace in battle with the X-Men (who have to fend off hate-
X-Men #14 (Nov. 1965): the Sentinels. The Sentinels filled mobs while trying to protect them at the same
were specially designed robots created by Dr. time), the Sentinels escape taking Trask with them.

X-Men #15
“Prisoners of the Mysterious Master Mold!”; X-Men #16, page 16 (opposite page). Moral
Stan Lee (script), Jack Kirby (layouts), Werner Roth [as uncertainty in an age when Americans began to
Jay Gavin] (pencils), Dick Ayers (inks) question their role in the world. Bolivar Trask
Cover: Jack Kirby (pencils), Dick Ayers (inks) prepares to make the “supreme sacrifice.”
In X-Men #15 (Dec. 1965), the adventure continues

as Trask discovers that he’s programmed his Trask being forced to help his renegade Sentinels
robots too well. Taken to the Master Mold, leader with their plan to conquer the world. Fortunately,
of the Sentinels, he soon learns to what extremes however, Prof. X is on the ball. Back at the television
his original programming has been taken. studio where he debated Trask in issue #14, he
Ordered to help the Master Mold to create an discovers that the Sentinels can be disabled if the
army of robots with which to conquer the entire transmission beams that guide them are interfered
human race, Trask argues, with. Together with local
“But you were made for authorities, he uses a giant,
only one purpose, to guard commercial crystal to do just
the human race from that. Just in time, too, as the
mutants! That is your only hard-pressed X-Men, after
duty!” Too late, he realizes making their escape, are
the folly to which his about to be subdued again
unreasoning fears have led by the relentless robots.
him. “We can only guard Meanwhile, Trask has been
the human race by becoming helping the Master Mold to
its master!” reply his create new robots and some of
creations. “Humans are too them are about to be birthed!
weak, too foolish to govern But then, reaching a last-
themselves! Henceforth, we minute crisis of conscience,
shall rule!” Trask’s personal he destroys the reproducing
torment is made the greater machine, giving up his own
after the Beast is captured life in the process. In “The
and placed beneath a psyche- Supreme Sacrifice,” Lee
probe. Under its influence, and Kirby seem to express
Trask learns the truth a belief that all men are
about the X-Men: that far Morrie Kuramoto (seated) began as a
let terer for Atlas in the late 1950s basically good. It was a
from presenting a menace but by the 1960s had branched out to theme they’d revisit frequently
to mankind, their mission all kinds of production work including as the grandiose years
is to protect the human letters pages and cover layout. progressed—an optimism
race. “How wrong I was that insisted on the creation
about them,” he thinks. “I of hero-villains and villains
wanted to help humanity, to fight the mutants! who often demanded the readers’ sympathy. That
What a fool I was! What a blind, dangerous fool!” attitude represented a broadening of the definition
The issue ends as the rest of the X-Men, after of what it meant to be a hero and further differentiated
fighting their way into the Sentinels’ fortress, are Marvel from its competition. And so, the mob
also captured. (Bonus! This issue also includes the who chased down mutants could otherwise be
origin of the Beast!) Is this the end of the human responsible citizens, and characters like George
race? Has Trask learned his lesson too late to do Stonewell in Sgt. Fury #6 might be bigots, but still
any good? Stay tuned! be capable of the sacrifices expected of a soldier.
It was a graying of the line between good and evil
X-Men #16 and of the guilt of those casting stones as well as
“The Supreme Sacrifice!”; Stan Lee (script), those being stoned, a moral confusion that suited
Jack Kirby (layouts), Werner Roth [as Jay Gavin] (pen-
perfectly the X-Men feature but that would barely
cils), Dick Ayers (inks)
Cover: Jack Kirby (pencils), Dick Ayers (inks) be explored through most of the strip’s run. A
potential whose lack might’ve been the reason for
Things continued to look bleak at the start of X-Men the strip’s disappointing sales.
#16 (Jan. 1966) with our heroes helpless captives and


Amazing Spider-Man #31 their boss as “the Cat.” The Cat was a resourceful
“If This Be My Destiny!”; Stan Lee (script), Steve Ditko second-story man whom Spidey spent that issue trying
(plot, pencils & inks) to capture. Then, in this issue, the same costumed
Cover: Steve Ditko (pencils & inks) goons are shown working for someone else, the
Without his direct participation, other Marvel titles Master Planner! Obviously there was the same lack of
were still relatively free from Kirby’s growing tendency communication between Lee and Ditko as there had
to stretch out storylines, relying instead on the been on the FF with Lee and Kirby! Be that as it may,
occasional two-part story. This pattern was especially by the time “If This be My Destiny” hit the stands,
true of the Spider-Man feature, whose direction Ditko things had been straightened out. The first of three
probably had more control over than Kirby did that of parts, this issue begins beneath a classic Ditko cover
his own books (if a much earlier plotting credit for that’s been endlessly copied ever since: a multi-image
Ditko is any evidence). Although the suggestion for illustration with each picture segmented among the
using a serial format for the “Hulk” strip in Tales to eight legs of a spider motif. Below it a blurb (Lee at his
Astonish may have been Ditko’s idea, the extra-length most ingratiating!) reads, “Dedicated to you, the great
story was never used in Spider-Man (unless the endless
travails of Peter Parker’s private life and the Amazing Spider-Man #31, page 7. The uninked
somewhat disjointed events of Amazing Spider-Man version of this page shows how much of the
#17-19 could be counted as such). That changed when work was completed by Ditko (even to
Amazing Spider-Man #31 presented the first chapter in placement of word balloons) before committing
the image to ink. Both this page and that of X-
what may have been our hero’s finest hour. It began Men #16 (with detailed notes by Kirby,
somewhat stumblingly with a prologue the previous previous page) show just how involved the two
issue. Scenes there involved a band of masked artists had become in the plotting stages of
flunkies whom following issues would identify as the their books.
Master Planner’s men. In #30 however, they refer to

new Marvel breed of reader!” But it was no idle boast photos to J. Jonah Jameson are met with cold
as inside, Lee and Ditko immediately plunge their rejection. Finally, and worst of all, he learns that
fans into the maelstrom of freshman orientation as he must suffer the guilt for his aunt’s worsening
Peter attends his first day at Empire State University. condition when doctors tell him that an unknown
Registering for classes, picking up textbooks and radioactive particle in Aunt May’s blood might be
filling out paperwork were no doubt familiar scenes the cause of her illness. In an agony of guilt, Peter
for the company’s growing number of college age concludes that the radioactivity in his aunt’s blood
readers. But if fans had some idea that things would could only have been introduced through a blood
get better for their hero once he was out of high school, transfusion he once gave her. (It was the bite of a
they’d soon be disillusioned! Peter not only runs into radioactive spider that had given him his spider
high school rival Flash Thompson (attending ESU on powers). Could anyone but Lee and Ditko have
a football scholarship) but learns that his Aunt May maneuvered a character into a position of such exquisite
has suffered another heart attack. Things only get agony as this? Fortunately, they didn’t do it without
worse when, distracted by leaving him a way out. In his
concern for his aunt, Peter identity as Spider-Man, Peter
gives the cold shoulder to enlists the aid of Dr. Curt
everyone he meets at Connors (another former foe
school and, fueled by Flash named the Lizard) to help
Thompson, resentment of him find a cure. Connors
him builds among his suggests that a new serum,
classmates (who include Iso-36, might do the trick, but
Harry Osborn and Gwen it’ll be expensive. But after
Stacy appearing here for the selling all of his most precious
first time). What’s worse, possessions to pay for it, the
with Aunt May’s hospital serum is stolen at the airport
bills piling up, Peter is forced by the Master Planner! Now,
to prowl the city by night in with Aunt May’s life hanging
order to pick up cash taking in the balance (the serum
pictures of himself in action as loses its potency quickly), a
Spider-Man. Meanwhile, with maddened Spider-Man tears
little sleep, his performance up the city looking for the
in class suffers. Could things Master Planner. Finding his
get any worse for our hero? Production assistants Linda Lessman
headquarters, he fights his
Don’t ask! and Dave Hunt. Hunt’s name would way into the inner sanctum
become ubiquitous as an inker in the only to find that he must face
Amazing Spider-Man 1970s. his most powerful foe! In a
#32 whirlwind battle, Spider-Man
“Man on a Rampage!”; defeats Dr. Octopus but in
Stan Lee (script), Steve Ditko (plot, pencils & inks) the process is pinned beneath tons of crumpled
Cover: Steve Ditko (pencils & inks) machinery too heavy to lift and, even as the ceiling
In Amazing Spider-Man #32 (Jan. 1966), Lee and Ditko of the underwater sanctum begins to leak, he spies
continue to add complications to the plot, ratcheting the canister of Iso-36: just beyond reach!
up the suspense until, unable to bear any more, the
story collapses under their weight in a shattering Amazing Spider-Man #33
climax that’s left fans talking ever since. What makes “The Final Chapter!”; Stan Lee (script),
this story even more interesting are the tests to which Steve Ditko (plot, pencils & inks)
Lee and Ditko force Peter to undergo. On the one
hand, as Spider-Man he must fight the Master Planner Has there ever been another story quite like this one
(revealed this issue as his old foe Dr. Octopus) and his in the entire history of comics? Sure, elsewhere, Lee
men, while on the other he must face challenges to his together with Kirby was giving readers glimpses of
spirit. First, in order to complete his breakup with cosmic vistas never before imagined within the
former girlfriend Betty Brant, Peter forces her to hate confines of a comic book, but none of that could match
him by acting like a clod with rival Ned Leeds. Next, the much smaller in scale (but no less important)
in his hour of greatest need, his efforts to sell some human drama of Amazing Spider-Man #33 (Feb. 1966).

Where Kirby preferred to draw full- faced by most of the book’s teenaged readers and if some of the ones
page illustrations of physically facing Peter seemed insurmountable, like him, they also needn’t give up,
imposing entities whose massive needn’t buckle under to bullies or rejection or whatever. They, too, could
bulk left little room for doubt muster the determination to succeed, even if the world seemed to be
about their ability to survive against them. Sensing the growing dedication of the company’s youthful
almost any situation, Ditko fans, Lee was clearly inspired to take their side (remember the blurb
excelled in scenes of daily life, the from the cover of #31? “Dedicated to you, the great new Marvel breed of
ordinary travails of normal human reader!”), a position he’d make more obvious as the grandiose
beings where success in a school
test or earning a living could be as
satisfying a victory as stopping the
rampage of a living planet. There
wasn’t any room in Kirby’s universe
for an Aunt May. In an extraordinary
five-page sequence opening this
issue, Ditko provides the tableau
upon which just such a human
drama is performed. Trapped in
the crumbling, leaking headquarters
of Dr. Octopus, Spider-Man is
dwarfed beneath the weight of
a gargantuan piece of fallen
machinery. Although he tries
repeatedly, Spidey can move the
huge weight no more than a few
inches before collapsing in
exhaustion. With visions of his
ailing aunt before his eyes, the
innate strength that Peter has
always possessed, that he’s
demonstrated time and time again
in dealing with the
numerous problems
with which Lee
and Ditko have
complicated his life,
prevails, and slowly,
agonizingly, he lifts
and then throws the
great weight from
him. “Anyone can
win a fight when
the odds are easy!
It’s when the going’s tough, when

there seems to be no chance, that’s
when it counts!” Lee’s ringing
prose (underlined by Ditko’s
triumphant sequence) couldn’t
have failed but hit the readers
where they lived! It was one of the
secrets of the success of the Amazing Spider-Man #33, page 4. In the grandiose years, even
Spider-Man strip: many of the personal struggles like those of Peter Parker could be made as
dramatic and vital as any fought on a more cosmic scale such as
problems that plagued Peter
that by the FF versus Galactus.
Parker were the same as those

years progressed. In the meantime Spider-Man, freed the division of work between the two men, (including
from beneath the machine, wasn’t out of the woods yet! Lee’s increased reliance on Kirby for plotting the books
Surviving the flooding of the undersea headquarters, they did together and a lighter editorial hand), stories
he wades through the remainder of Octopus’ men began to wander. Each number featured a main story
and gets the serum to Connors in the nick of time. that might end unexpectedly in the middle of an issue
Reinforcing the dedication he’d made on the cover of (or might not!), ongoing plotlines that would become
#31, Lee’s final lines in the book were meant to speak main stories and even subplots that never amounted to
directly to his young readers when he has a nurse anything! For instance, in Journey Into Mystery #125
wonder at the retreating figure of Peter Parker: “That (Feb. 1966), we join Thor in the middle of a battle with
Peter Parker certainly is a nice boy! He’s sincere, the Demon, an African witch doctor who gained super-
well-mannered, devoted to his aunt! Too bad there strength when he discovered a lost Norn Stone. Loki
aren’t many more young men like that! Too bad had used the stones to cheat during the trial of the
someone like him can’t be an idol for teen-agers to gods back in #116 and disposed of them on Earth
imitate…instead of some mysterious, unknown before being found out by big daddy Odin. But Thor
thrill-seeker like, Spider-Man!” These lines no doubt
resonated with many of the book’s young readers
who felt misunderstood by parents, teachers or
friends who saw only their faults, and none of their
virtues. It was fuel like this that primed the Spider-
Man book and allowed it to become one of the most
popular titles in comics’ history.
Journey Into Mystery #125

“When Meet the Immortals!”; Stan Lee (script),
“The Queen Commands”; Stan Lee (script),
Cover: Jack Kirby (pencils), Vince Colletta (inks)
Diametrically opposed to the familiar humanism of
Ditko’s Spider-Man was Kirby’s “Thor.” Where Peter
Parker struggled with family, friends and homework,
Thor busied himself in combating a constant stream of
awesome menaces that took him from the home of the
gods to Earth, Hades and the furthest reaches of uncharted
space. It was what made the “Thor” strip a flagship title
(along with the FF), of the grandiose years. In fact,
many of the adventures the thunder god experienced
in those places began immediately after the departure
of inker Chic Stone (Kirby’s collaborator during the
years of consolidation). Overnight it seemed, with
Vince Colletta replacing Stone, the regular “Thor”
strip acquired the same timeless, antique feel as
Colletta’s work over Kirby in the “Tales of Asgard”
feature. The inking style changed the whole feel of the
book, making even down to earth stories such as those
featuring the return of the Absorbing Man seem
grander than they would’ve been with Stone. Whether Like the Bond craze, there were other trends
it was the inspiration of Colletta’s inking, a continuation percolating in the 1960s that also had their
audiences. Sergio Leone’s “spaghetti westerns”
of the kind of stories that they’d been telling in “Tales of were popular in second-run theaters, as were
Asgard” or simply the trend that Marvel had been such sand-and-sandals offerings as Steve
drifting towards through its first two phases, Lee and Reeves’ Hercules. But whether such my th-
Kirby now launched the “Thor” strip into an unprece- ploitation films had any influence on the
dented series of inter-connected stories whose structure creation of Marvel’s prince of power is
anyone’s guess!
was unlike anything done in comics before. Because of

convinces Odin of Loki’s trickery and goes to Earth to The Mighty Thor #126
retrieve the stones. He finds most of them, but then gets “Whom the Gods Would Destroy!”; Stan Lee (script),
embroiled with the resurrection of the Destroyer in Jack Kirby (pencils), Vince Colletta (inks)
issues 118-119 and the return of the Absorbing Man in “The Summons”; Stan Lee (script),
#s 120-123. It was in #125 that Thor finally wraps up the Jack Kirby (pencils), Vince Colletta (inks)
norn stone business in a contest with the Demon!
Which brings things back to the issue at hand, “When That equally compelling vision couldn’t have been
Meet the Immortals,” which doesn’t refer to the made more plain than in a great symbolic sequence in
Thor/Demon fight at all but to the opening scenes in The Mighty Thor #126 (March 1966) (the book had finally
the rematch of the millennium: Thor vs. Hercules! made the change from Journey Into Mystery to the name
Here’s the set-up: Thor has been separated from his of its title character). There, despite their similar powers,
girlfriend Jane Foster for who knows how long (what the two antagonists couldn’t be more different: Thor
with all the fighting he’s been is earnest and melancholy,
doing!), then gets caught by having long since learned
Odin for disobeying his his lesson in humility and
wishes and telling Jane about responsibility; Hercules is the
his secret, Don Blake ID. As way Thor was before he
punishment, Thor has to became Don Blake—careless,
endure the “Ritual of Steel” insensitive, a party animal.
and even if he wins, is barred The two begin slugging it out,
from ever returning to Earth! ostensibly over Jane, but really
Of course Thor pulls through, begun by Thor more or less
and disobeying Odin again, because he needed an outlet
escapes to Earth. Meanwhile, for the expression of his
Hercules has arrived on Earth frustrations. To Hercules, it’s
himself (sent there by Zeus on mostly all fun and a chance
a mysterious “mission” that’s to settle once and for all the
never referred to again!) and question of who’s the
has not only gotten himself a strongest (a contest begun in
Hollywood contract, but is Journey Into Mystery Annual
making time with Jane! By #1). “Hah! How puny are the
now, Thor is not in a good products of mere mortals!
Danny Crespi (left) served as a letterer,
mood and any reader who then worked in art production. Inker How they shatter and crumble
paid attention could see what Mike Esposito (right) began working at before the might of Hercules!”
was coming next: a patented, Marvel under the pseudonym Mickey But as the battle continues,
Marvel bludgeoning battle Demeo before his secret identity was playing havoc with private
issue, that’s what! But revealed! property, there comes a point
suffering fans would have to where Thor comes to his
wait until the next issue to see it! Although the spirit senses. “Strength alone is a hollow virtue, son of Zeus!
of the grandiose years would effect nearly every Without conscience, without respect for those who may
Marvel title, there were only two strips that captured be weaker than thee, thy power rests only on pillars of
it so perfectly as to establish them as the flagships of sand!” So even as Kirby revels in the growing grandeur
the movement: the Fantastic Four and “Thor.” In a of his art, in the titanic proportions of his imagery Lee,
way, by loosening the editorial reins on Kirby, Lee in a few well chosen words, manages to bring it all back
had allowed his partner to change the character down to earth, to ground the incredible events taking
of Silver Age Marvel from its more humanistic place in sentiments every bit as powerful as any of
beginnings to a colder, more technologically dominated Kirby’s monumental quarter- and full-page panels. This
one. Kirby’s wildly creative talent was so powerful, one scene, symbolic of the two men’s approach to their
it tended to pull everything else after it. To keep that work, is in microcosm what the grandiose years were all
from happening, and at the same time to suffuse about, a blending of sensibilities that kept the grand
Kirby’s work with the humanity necessary to make style in equilibrium, neither tilting toward scenes of
it meaningful to readers, would require someone empty combat nor to those dominated by mawkish
with an equally compelling vision. Fortunately, Stan sentimentality. Lee and Kirby were simply the greatest
Lee was that person. creative team in the history of comics.

The Mighty Thor #127 Thor on a relaxing hunting trip with pal Balder
“The Hammer and the Holocaust!”; Stan Lee (script), and Thor in mock combat with the voluminous
Jack Kirby (pencils), Vince Colletta (inks) Volstagg. Meanwhile, in tinseltown, Hercules
“The Meaning of Ragnarok”; Stan Lee (script), proves to be a soft touch when he’s duped into
Jack Kirby (pencils), Vince Colletta (inks) signing an ironclad “Olympian pact” that forces
him to exchange places with Pluto as the ruler of
The Mighty Thor #127 (April 1966) is an interim issue the Netherworld. Of course, he resists, and just as
between the continuing Thor/Hercules storyline things seem the most hopeless, enter Thor, recovered
and another example of the kind of rambling and looking for a rematch with the Prince of
plotting that ruled Kirby-drawn books at this Power. But seeing Hercules’ predicament, Thor
time. Returning to Asgard to settle things with chooses to help him instead. Would Lee and
Odin, Thor finds things aren’t what they’re supposed Kirby ever get back to the main plot? Stay tuned!
to be beyond the Rainbow Bridge. During his
fight with Hercules the issue before, Thor was The Mighty Thor #129
stripped of his godly power by his father as punishment “The Verdict of Zeus!”; Stan Lee (script), Jack Kirby
for leaving Asgard in #125. Weakened and defeated (pencils), Vince Colletta (inks)
by Hercules, Thor can’t face Jane and decides to “The Hordes of Harokin”; Stan Lee (script), Jack Kirby
(pencils), Vince Colletta (inks)
confront his father and settle things between Cover: Jack Kirby (pencils), Vince Colletta (inks)
them. But unknown to him Odin, who couldn’t
bring himself to punish Thor personally,
transferred his own power to “trusted” advisor,
Seidring. Seduced by possession of the Odin
Power, Seidring attacks Odin and seeks to make
himself master of Asgard. In a game of chicken,
Seidring blinks as Thor threatens to pull the Odin
Sword from its scabbard (bringing on Ragnarok,
the twilight of the gods!) if he doesn’t return the
Odin Power to its rightful owner. Meanwhile,
back on Earth, Hercules finds himself in
Hollywood, the victim of—what else?—an
unscrupulous booking agent.
The Mighty Thor #128

“The Power of Pluto!”; Stan Lee (script), Jack Kirby
“Aftermath”; Stan Lee (script), Jack Kirby (pencils),
It seemed as if Lee and Kirby weren’t sure whose
name should go beneath the logo of The Mighty
Thor #128, Thor or Hercules because with the neat
division of pages between scenes of Thor recuperating
from his battle with Seidring the issue before and
those of Hercules’ adventures in Hollywood, a
reader couldn’t be blamed for being slightly confused!
Another example of the wayward plotting that
had overtaken Kirby’s full-length book assignments,
this issue was devoted to concurrent sub-plots,
marking time before the main story involving
Thor and Hercules got going again in #129.
Shifting back and forth between Asgard and H-wood,
though, the reader had a chance to see Kirby tackle Any resemblance between the Zeus of Greek
the domestic side of Asgardian life in scenes such my th and Marvel’s monarch of Olympus was
purely coincidental!
as a recuperating Thor being examined by physicians,



The Mighty Thor #128, page 8 (opposite page). “Thunder In the Netherworld!”: Stan Lee (script), Jack
Our hero marks time while recuperating from
Kirby (pencils), Vince Colletta (inks)
wounds suffered in bat tle the previous issue—
“The Fateful Change!”; Stan Lee (script), Jack Kirby
or at least what passes for recuperation in the
Kirby-verse!
Things move into high gear in The Mighty Thor #129 Despite their seemingly inexhaustible supply of
(June 1966) with “The Verdict of Zeus” (apparently the inventiveness, Lee and Kirby could still resort to
issues leading up to this one were but prologue!). It shameless cliché when the need arose. So it was
begins innocuously enough with one of those little with Thor’s coincidental arrival in Olympus to
vignettes that Lee and Kirby would often use to fight for Hercules. It seems that, showing up in Asgard
contrast Thor (usually on his way to, in the middle of last issue, he was told by Odin of a conveniently
or just finishing up some impossibly cosmic, earth- timed prophecy which called for him to go to
shattering adventure) with the average man on the limbo and “stake all, on behalf of another!” It was
street. Here, Thor is rescued from a pressing crowd by there that he hears Hercules wondering aloud that
a New York cabbie who, in effect, summarizes what “…somewhere in the vast, limitless universe there
made Marvel’s heroes so much more interesting than must be one, one who will heed my call—!” And
their two-dimensional counterparts at the competition: so begins “Thunder in the Netherworld,” the climactic
“The way I see it, you ain’t much different than a guy chapter to one of the greatest heroic sagas in the
like me! I’ll betcha you worry about dames, ’n politics, history of comics. Thor would have other grand
’n the World Series just like me ’n everybody else!” adventures with Ego the Living Planet, the
Lee couldn’t have made Marvel’s approach to its Enchanters, the High Evolutionary and even
heroes any more plain than that! Then, carrying the Galactus, but somehow none would capture so
point further, the reader is told in effect, that he can be perfectly the feel of ancient myth, of the epic
every bit the hero in his normal life as the heroes in the events of such classics of Western literature as the
comics. “But I been around too!” says the cabbie. “I Iliad and the Odyssey. But more important was the
caught me a bullet at Anzio, in the big war!” “Then story’s overarching theme (familiar to readers of
you too have done your share for freedom!” says Thor the Amazing Spider-Man but not often associated
with a look on his face that shows neither surprise nor with Marvel’s other features) that with great
condescension. “Yeah, just like you! In spite of them power there must also come great responsibility. It
crazy golden curls, you’re an A-1 Joe in my book!” The was set-up nicely in the opening chapters with the
transition from this domestic scene to the next couldn’t naïve but vain Hercules, reckless in the use of his
be more jarring as the action moves directly to Mount strength meeting Thor, his wiser, more serious
Olympus where the gods are at play. Suddenly, Pluto counterpart. Then came their clash in a monumental
appears to inform Zeus that his son has signed an
Olympian pact to become ruler of the Netherworld.
With no choice but to enforce the contract, Zeus tells
Hercules that he must honor the agreement. But
there’s one way out: if Hercules can find a champion
to fight and defeat the hordes of Hades in his stead.
What follows is a lesson in humility that changes the
Prince of Power forever and transforms what might
have been a hollow slugfest into a story worthy of
the actual myths that inspired it. Approaching
everybody he knows in Olympus to ask them if they’d
risk Hades for him (Ares despises his “blustering
manner” and “vain conceit,” while Apollo just
hasn’t got the time), Hercules soon learns that his
overblown ego has rendered him friendless. “For the
first time since the dawn of consciousness, Hercules
knows, at last, the meaning of fear!” But then, just as
If Homer had been around during the grandiose
he’s about to be ushered into his new kingdom, Thor years, he would’ve fit in perfectly as a writer
comes to the rescue! for Marvel comics!

battle that highlighted Hercules’ insensitivity Tales of Suspense #73

while emphasizing Thor ’s awareness of the “My Life for Yours!”; Stan Lee (co-plot & script), Roy
responsibilities of power. His lesson still Thomas (co-plot), Flo Steinberg (plot assist), Gene
unlearned Hercules, then doomed to banishment Colan [as Adam Austin] (pencils),
to Hades, learns that his carelessness has left his Jack Abel [as Gary Michaels] (inks)
“Where Walks the Sleeper!”; Stan Lee (script),
life friendless and empty. Meanwhile, Thor recuperates Jack Kirby (layouts), George Tuska (pencils & inks)
in Asgard, surrounded by a caring group of family Cover: Gene Colan (pencils), Jack Abel (inks)
and friends. The lesson so far is obvious: honor
and maturity earn the reward of recognition and If Don Heck had been one of the three most
love, vanity and a lack of sympathy bring only important artists working at Marvel in the early
resentment and loneliness. The Mighty Thor #130 years and the years of consolidation, then Tales of
(July 1966) is the payoff as Thor battles the assembled Suspense #73 (Feb. 1966) has to be considered one
might of the Netherworld to free Hercules: of the milestones by which the transition into the
Cerberus, guardian of the grandiose years is marked.
entrance to Hades, an army Heck’s departure from the
of monstrous demons strip in #73 would leave
armed with the most him with the Avengers as
outlandish weaponry ever his only regular feature. In
imagined and even Pluto another year, he would be
himself. Art by the Kirby/ gone from that book too,
Colletta team meanwhile, and henceforth appeared
is equal to the outscale only sporadically in various
spectacle while Lee’s script titles, his peak creative
is tinged with all the years with the company
drama and power called over. As if to underscore
for in the pictures. At last, the change from the less
unable to tolerate seeing serious years of consolidation
his kingdom destroyed, to the more dramatically
Pluto calls a halt to the inclined grandiose years,
carnage and declares Thor his replacement on the “Iron
the winner. But the real Man” strip would become
winner is Hercules. Not Stu Schwartzberg was hired in 1969 one of the mainstays of the
only is he freed from the to help in production but also became company until completely
Netherworld, but he finds a regular humor writer for Not Brand dominating the rest of its
the first real friend he’s Echh. artistic talent in the twilight
ever had and learns a years. Appearing at first
valuable lesson, too. “What riotous revels we shall under the pseudonym of Adam Austin, veteran
enjoy together! What battles we shall share at artist Gene Colan’s style was more sophisticated
each others’ side!” says Hercules. “…My hammer than Heck’s, in fact more sophisticated than any
swings only for justice, never for the thrill of other artist working at Marvel, including Kirby
battle alone!” replies Thor. “But what good then and Ditko. (Just compare it to the Kirby/George
to be a god?” asks Hercules. “Thy careless query, Tuska art for the “Captain America” strip in the
Hercules, is far more profound than thou second half of this book!) However brilliant their
suspect!” It was the grandiose years writ large, artistic styles, it was Colan’s photographic realism
and what other comics before or since ever that set him apart from everyone else and made
inspired such positive values as those expressed him the most suited of all Marvel’s artists to portray
here? If there were well written comics before characters and situations in the “relevant” kind of
Silver Age Marvel, they generally dwelled on the stories that would become more prevalent as the
horrors of war or crime, and if they came after- years passed. In the meantime, however, his style
wards, they were permutated by the cynicism and brought a new three-dimensional quality to Tony
moral relativism of the post-Reagan era. Lee, Stark, Senator Byrd and the strip’s other cast of
Kirby and the rest of the Marvel bullpen may well characters that proved perfect for the growing
have represented the last openly optimistic mood of oppression that would soon overtake the
generation in comics. feature. And Colan’s interpretation of Iron Man

was so dynamic that it would eventually eclipse Heck’s and, rightly of Iron Man moving through the
or wrongly, become the definitive version. But for now, Colan hit darkened corridors of the Black
the ground running with a fabulous cover of Iron Man in aerial Knight’s castle that Colan had
combat with the Black Knight and interior artwork that’s positively been relegated to romance
eye-popping! It’s hard to believe that after the great sequence here comics and the occasional war
book at the competition for
years! Getting him over to
Marvel was easily one of the
most inspired decisions editor
Lee ever made!
Strange Tales #141

“Operation: Brain Blast!”;
(plot & pencils), Frank Giacoia [as
Frank Ray] (inks)
“Let There Be Victory!”;
Stan Lee (script), Steve Ditko (plot,
pencils & inks)
But what was a strong point for
Colan, had always been a weak
spot for Kirby. Returning to do
full pencils on the SHIELD strip
in Strange Tales #141 (Feb. 1966),
Kirby opened the 12 page story
with climactic scenes involving
the end of Hydra (whom SHIELD
had been at war with since #135),
segued quickly into a presentation
of SHIELD’s ESP research and
finished with the Fixer’s dramatic
escape from prison.
Again, Kirby’s open-
ended plotting
style is in full play
here with the first
seven pages given
over to the end
of the Hydra
storyline and the

rest devoted to the
beginning of the
Mentallo/Fixer
plot. With all that going on, there
was no opportunity for readers
to find out anything about Nick
Tales of Suspense #73, page 1. The arrival of Gene Colan on the “Iron Fury or the strip’s cast of supporting
Man” feature had to have been jarring for fans following Don Heck’s characters. There was so much
long reign on the feature. Colan’s fluid style and penchant for going on, in fact, that Lee was
shadows and darkness would lend his many assignments the kind of
mood that more straightforward artists such as Kirby often lacked,
hardly able to let readers know
making the artist the perfect choice for such Twilight-era strips as what they were thinking! This
Tomb of Dracula and Dr. Strange. was Kirby’s great weakness in
the Silver Age (and in fact in
Gene Colan
Although Gene “the Dean” Colan hit the ground running
when he returned to Marvel in the mid-1960s, he only hit his
stride in the 1970s when, often teamed with inker Tom Palmer,
he did some of his best work. Having shown an aptitude for art
at a young age, Colan attended the Art
Students League of New York and jumped into
comics feet first in 1944 drawing war stories for Wings
Comics. A stint in the Air Force
followed and upon returning to
the States, Colan began a long
relationship with Stan Lee when the
editor hired him on the strength of
his experience doing war stories.
He did the same for DC when Lee
was forced to lay him off briefly
and even branched out to romance
stories before returning to Marvel in
the early 1960s. He never looked
back. Taking over on “Iron Man” from Don Heck and
helping to start up a new “Sub-Mariner” feature, Colan
made an immediate splash with fans and has remained a
favorite ever since.
much of his work anywhere else): the inability to Daredevil, Avengers and “Iron Man.” The interest
perceive his characters as anything but empty level of those books were driven by the force of the
costumes. If not for his teaming with Lee, it’s characters’ personalities and the strength of their
doubtful that any of the features he drew, regardless supporting casts. There was very little of that in
of their visual beauty, would’ve been any more Kirby’s books where Lee was forced to inject
successful than the other super-hero strips he characterization wherever he could. In this issue,
worked on immediately before and after his stint for instance, the character of the daughter of the
at Marvel. In the early days, Lee managed to get Imperial Hydra who rushes to his side after he’d
Kirby to include such character building scenes as been shot dead by his own agents could’ve been
“A Visit With the Fantastic Four” in FF # 11, but as developed into an interesting supporting player,
the grandiose years progressed, scenes like that but there was no time! She disappears on page 6
appeared less and less. In the twilight years, when and never shows up again. Meanwhile, after
Lee had abandoned everything in the production mopping up operations and visiting SHIELD’s ESP
of the FF and Thor but the scripting, Division, Fury himself seems to wonder why
characterization had all but disappeared. Contrast Kirby never gives him a break: “They didn’t even
Kirby’s books at Marvel in the years of gimme a chance to grab some grub!” But before he
consolidation and the grandiose years with strips can even think of eating, Fury is struck down by
where presumably Lee had more direct control: alarm waves. It seems that Operation Brain Blast is

an attempt to recreate the power SHIELD had in one man, Mentallo, Dormammu this issue (in hand-
before he was drummed out of the organization for trying to take it to-hand combat using mystic
over himself. Mentallo, however, hasn’t given up, teaming with an pincers!) only leads to more
ex-convict named the Fixer, he plans to attack SHIELD. But all that challenges arising out of his
was only for openers! The second half of this book features the latest larger struggle with them. First
chapter in the Lee/Ditko “Dr. Strange” serial in which our hero has Dormammu (who has promised
been captured by Baron Mordo and taken to the evil, other- Strange not to threaten Earth),
dimensional being named Dormammu. But the effect of Mordo’s taunts him with the sight of Clea
banishment to the “dimension of demons” and Strange’s defeat of (a girl who’d helped Strange
when he found himself stranded
in Dormammu’s realm) being
exiled to an unknown dimension,
then the Ancient One tells him
that before he can
rescue her he must
first deal with
the leftover evil
that Mordo had
scattered over the
Earth when he
was loose and
finally, unknown
to him, Mordo’s
allies have planted
a bomb in Strange’s
home set to go off at any time!
Strange Tales #142

“Who Strikes at—SHIELD?”;
(plot & pencils), Mike Esposito [as
Mickey Demeo] (inks)
“Those Who Would Destroy Me!”;
Stan Lee (script),
Steve Ditko (plot, pencils & inks)
There was still no rest for Fury
in Strange Tales #142 (March 1966)
as Mentallo and the Fixer (who
can whip up any kind of gizmo
using whatever spare parts are at
hand) attack SHIELD’s under-
ground New York headquarters.
It was Kirby at his most

imaginative as he comes up with
one fantastic device after another
(a “through the ground” tank,
sound amplifying “Jericho
tubes,” static distorters and a
mechanical “radar crab!”). The
Strange Tales #141, page 8. Fury doesn’t even have time to grab
story ends in a cliffhanger as still
lunch before plunging into SHIELD’s next incredible adventure another device is fastened to Fury’s
courtesy of the ESP Division! face, (altering the “cerebellar
pattern of his brain!”) and
John Severin
In an ironic twist, John Severin, whose style would prove to
be a little too stiff for the Marvel Age of Comics, would end up
being a perfect fit for inking over sister
Marie’s pencils on Kull the Conqueror, one
of the top strips of the twilight years. A
classmate of Harvey Kurtzman, Will Elder, and
Al Feldstein while attending classes at the High School
of Music and Art, it was probably no wonder that
Severin ended up working with them at EC Comics in
the 1950s. There he specialized in humor art for early
issues of Mad but also did some war stories that stood
him in good staid when he moved to Atlas later in the
decade. Concentrating on westerns and war
stories, he recommended his sister to Stan Lee for an
opening in the company’s production department and
except for a short stint as penciler on the “SHIELD”
strip in Strange Tales, worked primarily as an inker
through the 1960s. Although Severin returned to humor
doing pencils for Cracked magazine, it wasn’t until the 1970s that the most
satisfying of his later work was done in collaboration with Marie.
leaving him in complete control of Mentallo and Strange Tales #143

the Fixer! Meanwhile, Dr. Strange manages to “To Free a Brain Slave”; Stan Lee (script),
detect the bomb hidden in his Sanctum Sanctorum Jack Kirby (plot & layouts), Howard Purcell
in time to get rid of it, but then quickly falls prey (pencils), Mike Esposito [as M. Demeo] (inks)
to Mordo’s now leaderless allies. He, too, has a “With None Beside Me!”; Roy Thomas (script), Steve
Ditko (plot, pencils & inks)
mask affixed to his face, but resemblances Cover: Jack Kirby (pencils), Mike Esposito (inks)
between the two stories ends there. Strange’s mask
prevents him from uttering spells while “mittens” Strange Tales #143 (April 1966) concludes the
about his hands keep him from making mystic Mentallo/Fixer storyline with “To Free a Brain
motions. Besides that, a spell prevents him from Slave” in which Fury, now fastened to a “miniature
releasing his ectoplasmic self. From there, the story H-bomb,” is rescued by agents wearing “scramble
becomes an ingenious little puzzle as Strange (who helmets.” The helmets prevent the agents’
manages to free his ectoplasmic self) is forced to thoughts from being detected by Mentallo and
escape his foes while sightless as well as enable them to sneak up behind the two bad guys
powerless! When it started, this strip featured and hit their own helmets with pellets that make
single-issue stories most likely plotted by Lee and them too hot to continue wearing. Ripping them
simply drawn by Ditko, but when the artist took off, Mentallo and the Fixer now become susceptible
over direct plotting of the series, he turned it into to extra sensory attack by SHIELD’s ESP Division.
an organic whole, serializing the chapters (it may What began strongly in #141 with full Kirby pencils
have been Ditko after all, who suggested the serial ends here in a visual whimper with only layouts
format to Lee for their collaboration on the “Hulk” by the artist completed by Howard Purcell (with
feature in Tales to Astonish) as new plots, like the exception of the first few pages which Kirby
scattered seeds, grew continuously out of the old. seems to have had the time to finish). In contrast,
the “Dr. Strange” feature in the second half of the

book looks great! Here, Roy Thomas replaces Lee

on the writing chores as Ditko once again guides
our hero from the predicament he was left in last
issue (namely being struck blind and helpless in
the face of Mordo’s minions) and back on the trail
of the hapless Clea. Stashing his vulnerable corporeal
form (his physical body natch!) inside a water
tower, Strange uses his ectoplasmic form to
retrieve his stolen cloak of levitation and use it as
an offensive weapon to entangle and subdue one of
his enemies. Then, in a confusing, multi-pronged
battle, Ditko choreographs the struggle between
Strange in his ectoplasmic form, his cloak of levitation,
Mordo’s disciple whom Strange controls mentally
and the remainder of Mordo’s followers still at
large! It’s a wonderful, even exhilarating Captain Savage #12 (left). marvel tried to
sequence that only went to show just how far capitalize on the success of Sgt. Fury but
Ditko had come since the days of his five-page failed to capture the attention of fans. It was
mystery stories of the 1950s. It proved that with their loss: Captain Savage (and His
Leatherneck Raiders) featured inks by Syd
the proper encouragement, the right creative
Shores over Dick Ayers pencils that were a
environment, some artists could produce material thing to behold! (right) Combat Kelly.
even they may never have suspected was in them.
But it was just another dividend yielded by the
seemed to reach a climax of sorts in Sgt. Fury and
Marvel way of doing things.
His Howling Commandoes #29 (April 1966) as
Fury’s arch-enemy, Baron Strucker is ordered by
Sgt. Fury and His Howling Commandos #29
“Armageddon”; Roy Thomas (script), Hitler to destroy an entire city in retaliation for
Dick Ayers (pencils), John Tartaglione (inks) past defeats by the Howlers. Aptly titled
Cover: Dick Ayers (pencils), John Tartaglione (inks) “Armageddon,” the story (begun by Lee in #28
and completed here by Roy Thomas), manages to
Well on its way to becoming just another war
give Strucker some personality by allowing him
comic, the Sgt. Fury strip had lost much of its
feelings of resentment towards and doubts about
early vitality when Kirby left it for good with #13.
the sanity of his Führer: “I have no desire to
Although Lee kept the book interesting, even he
kill unarmed civilians to satisfy the power-mad
couldn’t prevent it from falling by the wayside in
maniac we call our Führer!” In a showdown, Fury
the face of the increasing popularity of the super-
manages to get Strucker to evacuate the town
hero features. The situation wasn’t helped by
before destroying it and then the two men settle
artist Dick Ayers, who could come up with a solid
their differences personally. Unfortunately,
cover now and then (#26 is a fine example), but
Ayers manages to make what should’ve been a
who couldn’t maintain such a level of quality
slam-bang finish into a rather dull exchange of
over many pages. Also, the emerging grand style
fisticuffs (sometimes blows were struck off panel,
of this phase of Marvel’s history had little effect
leaving readers with talking heads and with
on the Fury title. Stories still tended to be single-
figures either about to spring into action or
issue in length, and characters, particularly the
falling away from it!). Sales on Sgt. Fury during
Howlers, failed to develop much farther than
this period must’ve still been fairly strong, however,
they were when they first appeared. But as the
because Marvel tried to duplicate it with new
grandiose years progressed, it became apparent
titles such as Capt. Savage and His Leatherneck
that many of its elements were incompatible with
Raiders and Combat Kelly and the Deadly Dozen. But
the “a war book for people who hate war books.”
neither lasted very long and Sgt. Fury wasn’t far
What the strip really needed was a heavy dose of
behind. By the twilight years, war comics at
hard-hitting, reality-based stories which the
Marvel were dead, along with such other genres
series had touched upon earlier in its run. They’d
as westerns, romances and science-fiction. The
finally come, but too late to save the title from the
company, it seemed, had become a victim of its
ignominy of reprints and eventual cancellation.
own success.
In the meantime, the early years of the title

Fantastic Four #49 At the same time, Lee’s writing style had also
“If This Be Doomsday!”; Stan Lee (script), changed. He’d learned that there wasn’t any need to
Jack Kirby (pencils), Joe Sinnott (inks) “write down” to his readers, nor to skimp on words.
Cover: Jack Kirby (pencils), Joe Sinnott (inks) Gradually, he learned to adapt his writing style to
When Fantastic Four #49 (April 1966) opened with a different features giving Thor a neo-Elizabethan patois,
splash page proclaiming “Galactus has landed on infused Spider-Man with a hip, with-it sensibility
Earth!” and showing the startled, even fearful faces and even invented his own lingo for “Dr. Strange.”
of the FF staring into the heavens, who could’ve Eventually, Lee cut back on his verbiage and what
predicted that it was the start of a tale unlike any he kept became streamlined, more alliterative, even
ever seen in the history of comics? By now, Lee and sing-song as language fell from the mouths of his
Kirby had mastered all of the elements learned from characters as smooth as honey. Sometimes, his lines
trial and error during Marvel’s first two phases and could even approach the quality of poetry. Together,
had already begun to apply them in a manner that the vaulting talent of these two men could produce
can only be described as the grand style, with stories stories that were not only entertaining, but filled
being played against backdrops of increasing power with power and wonder. The amazing thing is that
and grandeur. It seemed those years acted as a true they did it with such regularity and with such
apprenticeship for both of them. Accomplished seeming ease. Take “If This Be Doomsday” for
professionals in the comics industry long before they example. Right off the bat the reader is presented
teamed up for FF #1, Lee and Kirby nevertheless with a full-page drawing showing the towering
couldn’t have produced a story like this without figures of Galactus and the Watcher as they discuss
having first passed through Marvel’s early years and the relative worth of human lives. The scene quickly
years of consolidation. In those few short years, Kirby’s segues onto a page divided boldly into large, quarter-
art had evolved from the accepted conventions of page panels effectively emphasizing the issue that’s
super-hero action (which he practically invented), to at stake. The FF try to show Galactus that he can’t
a style that seemed to transcend panel boarders and treat the human race with condescension, but their
extend outward to embrace the whole world, the efforts to get his notice prove hardly successful.
galaxy or the universe itself. Figures now had Meanwhile, what about the Silver Surfer? After
weight and heft, they dominated the scenes they being batted away from atop the Baxter Building by
were in and their activities seemed too much for the Thing last issue, he was rescued by the long
even the borders of a full-page illustration to hold. arm of coincidence: taken in by Alicia, the Thing’s
girlfriend, he recuperates and has his first exposure
with such human qualities as compassion and
nobility. Alicia’s pleadings with him to help the
human race proves more fateful than any of the
more direct action taken by the FF back at their
headquarters. Then, as things look their bleakest, as
Galactus completes the construction of his world-
devouring energy converter, the Watcher decides to
break his vow of non-interference and sends the
Human Torch “into the center of infinity” to retrieve
“the one object that may stop Galactus!” Never did
the stakes seem as high as they were in this story,
and though comic book villains had threatened the
world before, never had the danger been conveyed
as convincingly as it was here. Galactus was easily
the most awesome menace ever to confront comic
book heroes, and he had no weak spots, neither
physically nor emotionally. He even considered
What began as a minor trend in the 1950s mankind no more intrinsically valuable than
exploded on the national consciousness with insects! The Torch expressed it best when he
the music of the Beach Boys and the legend of returned from the cosmic journey on which the
the California dream. Could Kirby have failed to Watcher had sent him: “I traveled through
notice the popularity of surfing before he
worlds…so big…so big…there…there aren’t
dreamed up the Silver Surfer?
words…! We’re like ants…just ants…ants!!”

Fantastic Four #50 the “Ultimate Nullifier,” a device that can “destroy a galaxy…to lay
“The Startling Saga of the Silver waste a universe!” “And, should the universe crumble…can
Surfer!”; Stan Lee (script), Jack Galactus survive?” asks Mr. Fantastic. “You did this!” Galactus
Kirby (pencils), Joe Sinnott (inks) accuses the Watcher. “You have given a match to a child who lives in
Cover: Jack Kirby (pencils), a tinderbox!” But if this issue of the FF is accepted as the great creative
Joe Sinnott (inks)
dividing line in the history of comics, it’s the contention here that
It’s been said before that the past that line can be refined even further, to that of a single page. The initial
is but prologue, and in the case of point of the “new universe” of comics that would emerge post-FF
the Galactus trilogy that definitely
holds true! If the culmination of
everything Marvel had been
doing, from the vaguely thought
out early, formative years through
the years of conscious consolidation
to the full flowering of the
grandiose years can be pinpointed
in a single, representative tale, it
would have to be
this story. In fact, if
the entire history of
comics including FF
#1 could be divided
into two distinct
eras, everything that
came before and
everything that came
after, the defining
moment would have
to be Fantastic Four
#50 (May 1966). In it, Lee and
Kirby (aided in no small measure
by inker Joe Sinnott) reach their
finest hour. Art and script mesh
perfectly to tell the myth-tinged
story of the fall of the Silver
Surfer, a sinless angel who sacrifices
his freedom for millions he doesn’t
even know (“…In truth, I should
betray myself if I did not fight to
prevent the annihilation of a
people! For here…on this lonely
little world…I have found what
men call…conscience!”) and the
man-god Galactus who, despite

the cold isolation that keeps him
aloof from mankind, comes to
realize at last the value of human
life. Although the Surfer determines
to defy his master, he’s easily
defeated by Galactus, but in
doing so buys time for the Fantastic Four #50, page 9. Lee’s vaulting, even lilting language
Watcher to guide the Torch back combined with Kirby’s awe-inspiring visuals create a feast for the
from the ends of the universe mind and eye, propelling fans from one era of comics history to
the next. It could only be downhill from here.
from which he’s brought back

#50 is page 9. Divided into quarter-page panels, new plots: the Silver Surfer, now trapped on Earth,
Kirby fills the four huge spaces with close-ups of soars off to explore his new prison, a mysterious
the god-like figures of Galactus and the Watcher. new villain vows to destroy the FF, Johnny attends
Suiting their removed stature, the reader sees them his first day at Metro College where Coach Thorne
looking downward or over their shoulders at the has football problems and Reed and Sue
figures of the Fantastic Four (and perhaps of the experience marital difficulties. Whew!
teeming crowds far below the Baxter Building)
who are too far below the picture plane to be seen. Fantastic Four #51
Lee’s scripting here not only reads like a kind of “This Man, This Monster”; Stan Lee (script),
blank verse, but infuses this story of energy bolts, Jack Kirby (pencils), Joe Sinnott (inks)
cocoons of ethereal energy, solar destructogen and Cover: Jack Kirby (pencils), Joe Sinnott (inks)
dimensional displacements with all the humanism, With the triumph of the Galactus trilogy, Lee and
optimism and anthropocentrism that made Kirby had inadvertently forced themselves into a
Marvel’s books the thrilling, even vaulting experience corner: How do you follow up a story that took all
thousands of fans thought of mankind to the edge of
they were. “Though they extinction and back? In
are still in their infancy, you retrospect, the only answer
must not disdain them! Did was the one they came up
not your race…and with for Fantastic Four
mine…evolve from such #51 (June 1966), taking the
humble beginnings? Do action from an essentially
they not possess the seed impersonal perspective
of grandeur within their involving the fate of billions
frail human frames?” the of anonymous human
Watcher asks Galactus. beings to a more intimate
“So! For the first time struggle between just two
…since the dawn of men. In what may have
memory…my will has been the single most
been thwarted! But I bear moving story in all of Silver
no malice! Emotion is for Age Marvel, Lee and
lesser beings!” On the next Kirby define what it
page, Galactus prepares means to be not only a
to depart: “With those man, but just a plain old
In the footsteps of Roy Thomas. Fans who
words, the towering figure would later turn pro: Don McGregor (left) member of the human
of Galactus is transformed and Marv Wolfman (right). race. Optimism, as has
into a living, raging fury been shown, was always
of pure power…as the one of the main themes
very atoms in the air seem to crackle in elemental running through Marvel’s books, whether
disarray…!” “The game is ended!” says Galactus. expressing the belief that all men were basically
“The prize has eluded me! And at last I perceive good or that human beings as a race had a glorious
the glint of glory within the race of man! Be ever destiny to fulfill. The latter was expressed in no
worthy of that glory, humans…be ever mindful of uncertain terms in the just concluded Galactus
your promise of greatness! For it shall one day lift storyline and now, in “This Man, This Monster,”
you beyond the stars…or bury you within the Lee and Kirby would remind readers of the former
ruins of war! The choice is yours!” “Get back, all of and do it in the new grand style. The story opens
you!” warns Mr. Fantastic as Galactus makes his with the Thing wandering the rainy streets of
departure. “This sight was never meant for human New York, once more despondent over being
eyes!” It was left to the Thing to have the final trapped in the body of a monster. Befriended by a
word: “Can’t you ever get struck speechless, like stranger and drugged, his body is used as the
the rest of us?” With a finish like that, readers template by which the stranger transforms himself
couldn’t be blamed if they’d expected the issue to into a lookalike Thing. But who is this guy? It turns
end there, but it didn’t! Once again, Kirby’s loose out he’s one of the thousands of faceless scientists
plotting finishes a story in the middle of a book inhabiting the Marvel universe whose work can’t
with the rest of it given over to the development of help but fall in the shadow of the accomplishments

F.O.O.M.
T hough not quite a product of the 1960s, perhaps the most
successful and long-running of Marvel’s attempts to create
a fan club, FOOM (Friends Of Ole
Marvel) was launched in 1973 and
came with a pretty impressive
pedigree: its fan magazine was
produced and edited by pop artist
supreme Jim Steranko, who seemed
to have taken advantage of his
experience here to move on to his
own publishing efforts beginning
with Comicscene. In any case, FOOM
magazine ran for an impressive 22
issues and was jam-packed with
games, puzzles, news, and features
mostly designed by Steranko
himself. A membership kit included
a membership card and poster with a rousing invocation
by Foomus Fabricatorus himself, Stan Lee: “Stand Tall!
Thou hast reached the peak and plucked the proudest prize!”
of the brilliant Reed Richards. But unlike most of Part of his efforts to learn the secret of FTL (faster
the others, this man (who isn’t named in the than light travel), he tells Sue and the stranger
story) is filled with envy and spite and personal that he must take the personal risk in order give
failure that he blames on Richards. Determined to the Earth parity with such space-faring entities as
kill Mr. Fantastic, he’s waited years for the chance Galactus. In a staggering full-page collage by
to impersonate the Thing and infiltrate the Baxter Kirby, Lee’s prose once again waxes almost poetic
Building. But then a strange thing happens; as the leader of the FF plunges into sub-space:
exposed to the real man, he finds out everything “I’m drifting into a world of limitless dimensions!
he’d imagined about Richards is wrong, that he’s It’s the crossroads of infinity, the junction to
actually modest, altruistic and completely self- everywhere!” But the pursuit of knowledge
sacrificing. Qualities that put the stranger to sometimes comes at a high price, and Richards
shame. “All these years, when I thought I never soon realizes that he’s being drawn toward certain
got the breaks, now I know the truth! It was my doom. Signaling the faux Thing to pull him back
fault, nobody else’s! I wouldn’t work hard to safety, he wonders why nothing is happening.
enough, I wouldn’t make the sacrifices that a But back on Earth, the stranger has a crisis of
Reed Richards would…” His transformation confidence: “All I gotta do is ignore him, and I’ll
begins with his arrival at the Baxter Building just have beaten the one man I’ve always envied, the
as Richards is about to embark on his first trip one man no one else could ever defeat! But, all of
into the Negative Zone (here called “sub-space”). a sudden, I don’t envy him any more! I, I never

knew how brave he was, how Thor, Daredevil #16 (May 1966) must’ve come as a bit of a relief to
unselfish—!” Then, in a dramatic, shell-shocked fans! A throwback to the years of consolidation, this
defining moment, the stranger, book featured the first of a two-part story involving a team-up
in trying to save his enemy, between DD and Spider-Man. But the real significance of this book
instead allows himself to be is its artist. Up to now, Spidey had never strayed too far from his
drawn into the Negative Zone. own title, giving Ditko, who co-plotted the stories, the opportunity
When he joins Richards, he gets
bawled out for putting himself in
danger. “…Even now, he’s
worried more about me than
himself!” he thinks. Then, at last
coming to the full realization of
how wrong he’d been, the
stranger throws Richards back
to safety, resigning himself to
certain doom. “I’m not gonna
feel sorry for myself! Not many
men get a second chance, to
make up for the rotten things
they’ve done in their lifetime!”
The reader is alerted to the
stranger’s death when, back on
Earth, Ben Grimm suddenly
reverts to the Thing and, dashing
back to the Baxter
Building, comes
upon a grieving
Reed and Sue. At
last, they figure
out what must’ve
happened. “We’ll
never know what
monstrous things
he had done in the
past, or what
monstrous plans
he had made!” concludes Mr.
Fantastic. “But one thing is certain,
he paid the full price, and he paid it
like a man!” It’s not often a comic
magazine lives up to its potential,
but with this coda to the Galactus © 2009 Marvel Characters, Inc.
trilogy, Lee and Kirby proved that

the FF truly was “The World’s
Greatest Comic Magazine!”
Daredevil #16
“Enter Spider-Man”; Stan Lee
(script), John Romita (pencils),
Daredevil #16, page 13. After a rough start with the
Plunderer storyline in issues #12-14, newcomer to the
Cover: John Romita (pencils), Frank
bullpen John Romita gets with the program—and how!
Giacoia (inks) Opening up his pages beyond the standard six-panel grid, the
After all the heavy action going artist was able to capture the Kirby-style action that Marvel
fans demanded.
on in such books as the FF and

to define the look of the character on his own terms. Dardevil #17
But a rift had developed between he and Lee over “None Are So Blind”; Stan Lee (script),
what direction the Spider-Man book should take. John Romita (pencils), Frank Giacoia (inks)
Unable to compromise or to live with the fact that Cover: John Romita (pencils), Frank Giacoia (inks)
the editor had the final word, Ditko decided to leave Daredevil #17 (June 1966) opens with a splash page
Marvel. At the time of the release of this issue, Ditko (beneath a simple but elegant cover by Romita) showing
had probably already left, but with enough warning, Spider-Man dangling a hapless Foggy out of a
Lee had decided on his replacement. It would be a window high above the street. Convinced that his
tough act to follow, but artist John Romita would not spider-sense can’t be wrong, but unable to get Foggy
only do it, he’d make the Spider-Man book the top to admit to being Daredevil, Spider-Man eventually
seller of the decade. Like Colan, Lee had recruited leaves (“He sure is flabbier than I expected him to
Romita from the competition’s romance comics be!”), but his actions set in motion a hilarious (and
where he’d languished for years. But it hadn’t dangerous!) sub-plot which has Foggy maintaining
always been so. Romita had worked for Lee years the pretence that he really is Daredevil in order to
before, drawing the Captain America strip in the impress Karen! But that’s a story for a future issue; at
1950s. But the company had changed radically since the moment, the Masked Marauder is still loose in the
then and not least among those changes was the way city and up to no good. Entitled “None Are So Blind,”
Lee worked with his artists. Romita has admitted the story is filled with situations to which that line
that he had trouble getting used to the new Marvel can apply: Spidey’s mistaking Foggy for DD, the
method that required the artist to plot out a story
from a synopsis provided by the writer. To make the
transition easier for him, Lee had Romita work over
Kirby’s layouts on his first assignment. A three-part
story in DD #13-15 followed, whose slow pace and lack
of visual dynamism showed an artist who continued
to struggle with the new way of doing things. But he
got the hang of it fast, as this issue shows! Up to
now, the DD title had been slow to get started. The
early issues seemed to cast about for an approach to
the character and when the art was taken over by
Wally Wood, the strip was granted a semblance of
cohesion. But still there was little direction, little to
give it its own personality. When Romita took over
the art in #13, Lee seemed to be trying to shake loose
some of the cobwebs that had gathered around the
strip, but it wasn’t until this issue that he finally got
a handle on it. Now, the book’s cast of characters,
Matt Murdock, law partner Foggy Nelson and
secretary Karen Page began to work together in the
style that’d worked for years on the Spider-Man strip.
In addition, Lee introduced a new villain who’d
return time and again to plague DD and whose
identity, again like the Green Goblin in the Spider-
Man book, would remain secret for some time. In his
© 2009 DC Comics.
first appearance here, the Masked Marauder

schemes to steal the blueprints for an advanced
engine design and in order to distract Spider-Man
(who’s interfered with him before), he arranges for
him to be attacked by some of his men disguised as
Daredevil. And so, while the two heroes battle, the Secret Hearts #82. Years of toiling in the
Marauder makes off with the plans. A twist-ending vineyards of romance comics at DC paid off for
has Spider-Man tracking DD to Matt Murdock’s law John Romita after he took over the Spider-
office and, figuring Daredevil can’t be a girl or a Man strip where themes of unrequited love and
personal travails took center stage.
blind man, attacks Foggy!

John Romita
T he artist noted for his mastery of the female form and
who was destined to bring the glamor of the swinging sixties
to a Spider-Man strip mired in the look and feel of the 1950s
began his career drawing women who looked more like
“emaciated men!” Born in 1930, John Romita graduated from
the School of Industrial Art in 1947 and began work soon after
with Famous Funnies. In 1949, while working as a commercial
artist, he began ghosting for a friend who was getting work
from Timely Comics, a situation that
eventually got him in the door to meet
editor Stan Lee. Hitting it off, he was
soon hired and cranked out work in
every conceivable genre until being
tapped to pencil a revival of Captain
America in the mid-1950s. The revival
failed to take hold and soon after,
Lee was forced to lay off staffers when
the company suffered a temporary
downturn. Romita migrated over to DC
where he was relegated to the romance
line. But years toiling over teenaged
heartbreak honed his skill as a penciler
and required him to keep up with the
latest fashions; both developments that
would serve him in good stead when
Lee asked him back after a new line of
super-heroes began to achieve popularity.
Romita only needed a few months on
Daredevil to pick up on Marvel’s new
style of action art before taking over
the Spider-Man feature from Steve Ditko
in 1966. There, his ability to draw
attractive lead characters and otherwise
update the look of the strip with modern
clothing and hair styles as well as sleek
Manhattan architecture, combined to
propel Spider-Man to top of the pop-
culture heap.

misunderstanding that leads to fighting between In retrospect the introduction of the Panther this issue,
Daredevil and Spidey, Foggy’s pretending to be DD, shouldn’t have come as a surprise to the company’s
and the Marauder’s ability to temporarily blind his long-time readers. The groundwork for his creation
opponents. Bumping into each other while on the had begun as far back as the first issues of Sgt. Fury and
Marauder’s trail, our heroes once again start His Howling Commandos and the X-Men. In addition,
fighting, but before Spidey has a chance to pulverize Marvel had always quietly featured a scattering of
DD, he spots a giant dirigible sailing toward the blacks in crowd scenes or as police officers. But like
World Motors building. Suspecting what’s up, the those understated scenes, no special attention was
two heroes team-up and tackle the Marauder just as given the Panther because of his skin color. There was
he and his men descend from the hovering blimp. nothing in the story relating to race or bigotry, no
The issue ends with the villain’s plot foiled, but in obvious lesson in equality or civil rights, but there was
making his getaway through the World Motors nevertheless a lesson to be drawn. Was it intentional?
Building, a disguised Marauder runs into Foggy and Were Lee and Kirby trying to be oh so subtle?
Karen and overhears Foggy hinting that he’s DD! Whatever the answer, the way they chose to present
Over the course of this issue and the one before it, the subject of the Panther’s race turned out to be the
Romita proved beyond doubt that he had what it took best: he was treated as just another super-hero in the
to be another successful addition to the growing expanding pantheon of Marvel characters (not that
Marvel bullpen. And if the story had also been any new addition could be considered even remotely
intended as a dry run for taking over the Spider-Man average at the height of the grandiose years!). The FF
book, it seemed that in Romita, Lee had found his man. themselves expressed none of the expected patronizing
clichés on race that would’ve reduced Lee’s script to
Fantastic Four #52 that of dull didacticism. Their actions instead, spoke
“The Black Panther”; Stan Lee (script), louder than words as Mr. Fantastic (whom Lee
Jack Kirby (pencils), Joe Sinnott (inks) seemed to enjoy using as the vehicle for expressing the
Cover: Jack Kirby (pencils), Joe Sinnott (inks) company’s ideals) again sets the tone: “A man such as
The first look readers had of Fantastic Four #52 (July the Black Panther does not give his word lightly…nor
1966) really wasn’t much at all. Oh, sure, the house ads does he dishonor it, once given!” No more ringing
for that month included the latest issue of the FF as endorsement could be made of any human being. But
usual, but this time, the cover reproduction was before it came, it had to be preceded by loads of
obscured by a blurb that fairly screamed: “Don’t miss
the mystery villain of the month: ‘The Black Panther!’
He’s a sensation!” Why did Lee
feel the necessity of hiding this
issue’s cover? An early version,
drawn by Kirby, had the new
character prominently featured,
but in that design the Black
Panther sported a face mask that
only partially hid his features
(like Captain America’s). But if
that cover had run in the ads,
it would’ve given away an
aspect of the Panther’s identity
that Lee may have wanted to
preserve as a surprise for the
reader. If so, then it would
explain the need for the blurb.
Be that as it may, when #52 finally went on sale, the Zago #1 and Buster Crabbe in King of the
cover featured a leaping Black Panther with a full face Jungle. Stories about jungle heroes were
mask. So why all the trouble over keeping the new nothing new by 1966 but what set the Black
character under wraps? Because the surprise Lee and Panther apart from the others was that he was
Kirby sprung on readers was the world’s first black perhaps the first who actually was a native of
the Dark Continent. Another breakthrough for
super-hero, T’Challa, the king of an African nation Mighty Marvel!
and a scientific wizard as capable as Mr. Fantastic.

Marvel-style action! Besides the Panther’s questionable adversities of real people and Ditko’s taking over the
method of introducing himself (he lures the FF to plotting of the strip and completing Peter Parker’s
Wakanda then attacks them to test their abilities), evolution into a true three-dimensional character
readers got to see Johnny at college (and get more added up to more than just a string of 38 magazines.
formally introduced to his new friend Wyatt Wingfoot Those books redefined what a successful comic book
who made his first appearance the issue before) and hero could be and demonstrated that comics need not
the Inhumans continue in their efforts to break free be written down to its youthful readers but instead,
from the barrier that still imprisoned them. could be infused with all the drama, humor and, yes,
maturity of any of the more sophisticated forms of
Fantastic Four #53 fictional entertainment. But it couldn’t last forever.
“The Way It Began”; Stan Lee (script), With his assumption of the book’s plotting chores,
Jack Kirby (pencils), Joe Sinnott (inks) Ditko couldn’t help but develop a proprietary interest
Cover: Jack Kirby (pencils), Joe Sinnott (inks) in the strip. At times, he might have forgotten that the
In Fantastic Four #53 (Aug. 1966), we find out that the
Black Panther is the king of an African nation called
Wakanda, every square inch of which is an electronic,
mechanized wonderland and its citizens equally at
home in the laboratory as in the bush! Because
Wakanda is the world’s sole source of an ore called
vibranium, it has become one of the wealthiest
nation’s on Earth. The Panther himself, after the
death of his father at the hands of a villain named
Klaw (who wants to steal the vibranium in order to
power his “sound transformer” which will then be
able to change sound into mass), was educated in the
world’s finest institutions of higher learning. But
T’Challa was more than just an accomplished scientist,
he was also the living representative of his people’s
totem, the Black Panther, which made him the
nation’s religious as well as civic leader! Not a typical
resumé for any super-hero! But the telling of the
Panther’s origin is only the beginning of the action
this issue as Klaw returns with a menagerie of
creatures made from solidified sound! In the ensuing
battle, the Panther catches up with Klaw in the villain’s
hidden lab and defeats him. Unfortunately, the king
of the Wakandans is mistaken in his belief that Klaw
died in the blast that destroys his lab; instead, the villain
steps into his still operational sound converter and
transforms himself into a being of living sound!
© 2009 DC Comics.
“Just a Guy Named Joe!”; Stan Lee (script),
Steve Ditko (plot, pencils & inks)
From its cobbled together cover to its so-so story,
Amazing Spider-Man #38 (July 1966) was a bittersweet Blue Beetle #1. Ditko returned to Charlton
finale for the Lee/Ditko creative team. Over the three after leaving Marvel in 1966 and immediately
signed on to revamp the Blue Beetle. The
years since the character’s first appearance in
resulting action looked much like his work on
Amazing Adult Fantasy, the two men had taken the Spider-Man and there was even an attempt to
Spider-Man strip from its inspired but crude beginnings recreate the wall crawler’s personal problems.
to a point where its complex cast of supporting players Unfortunately, development of the Beetle’s
almost told their own stories. The sum of Lee’s original private life never really came to anything.
idea of supplying a super-hero with all the foibles and
character belonged to Marvel the comic book company and not to himself, school to the college campus. Ditko
or that the company’s representative, who also happened to be his co- seems to have resisted that idea, as
creator and editor, had a responsibility to make the book more profitable. well as Lee’s other suggestions,
Appearing more and more frequently in such venues as radio talk including revealing the long-hidden
shows, magazines and newspapers and on the college lecture circuit, Lee identity of the Green Goblin as
had become aware of just how popular the Spider-Man character was Norman Osborn, a new character
with older readers. Wanting to take advantage of that interest, he was that had been introduced into
eager to move the character from the more provincial surroundings of high the strip. Unable to compromise
on their differences, the two
men parted ways. Ditko was a
professional, however, and before
leaving Marvel, he
continued the high
level of craftsman-
ship he’d been
applying to the
Spider-Man book
right to the end.
In this issue, for
instance, he contin-
ues the drama of the
Peter Parker/Betty
Brant/Ned Leeds
triangle, establishes Norman
Osborn as a sinister figure (Ditko’s
intention for the character may have
gone no farther than establishing
him as a shady businessman rather
than making him the Green Goblin),
continues Peter’s alienation from
his classmates by having him
refuse to participate in a campus
protest and introduces a new villain.
And is a scene where Peter,
expressing anger about his hopeless
relationship with Betty Brant by
smashing a clothes dummy that
resembles rival Ned Leeds, symbolic
of Ditko’s own frustrations with
the strip? In typical fashion, the
story concludes with a happy
ending for the villain, but bad
luck for Spidey. When his Aunt
May warns him about having

nightmares, Peter, a bowed,
lonely figure as he ascends the
stairs to his room, says, “Not
much chance of that in my case!
I only have them when I’m
awake!” It was a fitting, if sad
Amazing Spider-Man #38, page 19. Was Ditko expressing his metaphor for Ditko’s exit from a
own frustrations in this scene where Spidey punches out a strip which would forever place
store mannequin (who’s profile seems to resemble a young
him in the exclusive pantheon of
Stan)?
comics greats.

Daredevil #18 developing plot-lines for issues to come. As the

“There Shall Come a Gladiator”; Stan Lee (script), strip would progress, Lee would give Daredevil an
Denny O’Neil (script), John Romita (pencils), increasingly carefree persona much more in keeping
Frank Giacoia (inks) with the book’s jaunty full title of Here Comes
Cover: John Romita (pencils), Frank Giacoia (inks) Daredevil, the Man Without Fear! The tight script,
With the departure of finished after page 7 by newcomer Denny O’Neil in
Ditko from the company a style indistinguishable from Lee’s, is perfectly
and Lee’s more serious complemented by a John Romita art job that showed
approach to the Spider- none of the problems he claimed he had only a few
Man book, it seemed that issues before in adapting to the Kirby-style panel-to-
it was left to the Daredevil panel movement demanded by Lee. Furthermore, in
strip to assume the mantle his creation of the Gladiator, Romita had managed to
of Marvel’s fun title to come up with a classic DD villain who would return
read. And is there a better time and time again to harass our hero.
example of that than
Daredevil #18 (July 1966)? Daredevil #19
Picking up immediately “Alone—Against the Underworld!”; Stan Lee (script),
from developments in John Romita (pencils), Frank Giacoia (inks)
Cover: John Romita (pencils), Frank Giacoia (inks)
the issue before in
which Foggy, having been The complications continue to mount in Daredevil
publicly mistook for #19 (Aug. 1966) as newspaper headlines scream
Daredevil by Spider- Denny O’Neil would “Prominent Attorney Said To Be Daredevil! Franklin
Man, continues taking later make his mark Nelson Unmasked by Gladiator.” Of course, having
at DC where he
advantage of that error been hired by Foggy to fight him, the Gladiator was
scripted the
to convince secretary adventures of a privy to his “secret identity” and spilled the beans
Karen Page that he really certain caped (such as they were!) to the cops. But before anything
is the swashbuckling crusader. Recruited else can happen, he’s sprung from jail by the Masked
super-hero. Opening in by Roy Thomas, he Marauder! Teaming up, the two decide to use the
a costume maker’s shop, first worked briefly Gladiator’s knowledge to take revenge on their
for Marvel where
the story follows Foggy he managed a good
mutual enemy. Meanwhile, the press is at the office
as he goes so far as to imitation of Stan’s looking for the scoop on Foggy. But Foggy’s been
outfit himself as DD writing style! warned by DD to keep a low profile until he can
and arrange with the round up the Gladiator who, he says, is sure to be out
shopkeeper to stage a looking for him. Anyway, DD foils an assassination
fight with him. The idea is to maneuver Karen into a attempt on Foggy’s life and, wising up, Foggy confesses
position where she’d see him change to Daredevil in his scheme to the police. Meanwhile, in a wonderful
order to tackle and defeat a super-villain! Of course, display of his potential as an action artist, Romita
things go wrong when it turns out that the hulking delivers a great two-page sequence of the Gladiator
shopkeeper (who has created his own costume and vs. the Masked Marauder using big, Kirby-style
calls himself the Gladiator) is insanely jealous of quarter-page panels. A few pages later, more quarter-
super-heroes and intends to start his own villainous page panels are used for the DD/gang fight in
career by killing hapless Foggy. Luckily for the pudgy Foggy’s apartment that sets the stage for Romita’s
attorney, the real Daredevil has been following him imminent takeover of the Spider-Man strip.
around in case any of his old enemies find out about
his act and, thinking it real, decide to attack him. “I’ve Strange Tales #146
never heard of a problem so pointless…so patently, “When the Unliving Strike!”; Jack Kirby (plot),
painfully absurd!” muses DD. It took a while, but Lee Jack Kirby (layouts), Don Heck (pencils),
finally seemed to get a handle on just what approach Mike Esposito [as Mickey Demeo] (inks)
“The End—at Last!”; Denny O’Neil (script),
to take with the DD strip; although still somewhat Steve Ditko (plot, pencils & inks)
wordy, his script is smooth and displays a growing Cover: Steve Ditko (pencils & inks)
assurance in the use of dialogue. A wonderful plot
that combines equal doses of humor, melodrama and The second of Marvel’s three artistic “musketeers” to
action, the small cast of characters for the first time leave the company was Steve Ditko. Okay, technically,
seems to come alive, providing Lee with naturally Don Heck hadn’t actually left (he penciled this issue’s

“SHIELD” strip for instance), but of the grandiose years. Brilliantly designed by Ditko (as a man-shaped
with his imminent departure as opening in the fabric of reality through which can be seen the ever-
the regular artist of the Avengers, shifting vistas of outer space), Eternity is nothing less than the
his most important years at the personification of the universe, maybe even God Himself as Lee’s script
company were effectively over. But hints: “You have tampered with that which is sacred!” Eternity tells
as good as his work was, Heck Dormammu. “Be warned, infamous one, you cannot survive this
never became as indispensable to blasphemous attack!” But the evil wizard doesn’t listen and Dr. Strange
the creation of Silver Age Marvel becomes witness to the strangest battle of all time. In two consecutive full-
as Ditko or Kirby, whose fertile page spreads, Ditko has Dormammu merging with Eternity on the first
imaginations provided the early
strips with much of their vitality.
Between the two of them, in partner-
ship with Lee, they were responsible
for the production of almost all of
the company’s initial line-up of
titles. But were they so important
that the company couldn’t survive
without them? Would sales on
Spider-Man, for instance, plummet
without Ditko? Although the
artist’s departure with Strange
Tales #146 (July 1966) precipitated a
long period of dull uncertainty for
the “Dr. Strange” strip, ultimately
it survived without him. The truth
was, by this time
the need for the
services of Ditko,
Kirby and Heck had
become less acute.
Lee had begun to
hire new artists such
as Colan, Romita
and John Buscema,
who, upon master-
ing Marvel’s new
creative style, would
emerge to become the company’s
workhorses. But like his final issue
of Spider-Man, Ditko showed no
slacking off in the work he put
into his final assignments, and this
last spectacular chapter in Dr.
Strange’s long running struggle
with Dormammu proves it. Still

fuming from his defeat by Dr.
Strange, Dormammu transports
him to the Dark Dimension for
battle, but just as all seems hopeless
for our hero, the entity known as
Eternity appears. Only briefly
presented in previous issues, Strange Tales #146, page 6. Ditko pulled out all the stops in his
last work on the “Dr. Strange” feature, rivaling Kirby with the
Eternity stands now revealed as
creation of Eternity, a creature fully as godlike as Galactus.
one of the truly great concepts

page, and in the second shows him as he unleashes all but the unique combination of his undeniable artistic
his power from inside the gigantic figure. The borders skill and his genuine concern for his characters as
of Eternity’s outline are burst outward in a shower of people helped give Marvel the human dimension
colliding worlds and shattered galaxies, and when the that really was the indispensable ingredient to the
dust clears, both combatants have vanished. But the company’s meteoric rise in the 1960s.
force of the titanic struggle is such that it hurls Dr.
Strange across a kaleidoscope of universes that have Tales of Suspense #79
been thrown into turmoil as the ripple effects of “Disaster!”; Stan Lee (co-plot), Gene Colan
Eternity’s apparent dissolution continue to move (co-plot & pencils), Jack Abel (inks)
outward across infinity. At last, he finds himself back “The Red Skull Lives!”; Stan Lee (co-plot),
Jack Kirby (co-plot & pencils), Frank Giacoia (inks)
on Earth with the knowledge that Clea, the girl who Cover: Gene Colan (pencils), Jack Abel (inks)
had helped him in his battle with Dormammu, is safe.
The story was a spectacular farewell for a creative It was only a matter of time before the effects of the
giant whose contributions to the rise of Silver Age grand style began to spill over from the flagship titles
Marvel could only be described as incalculable. of the FF and Thor into other books. An early example
Ditko may not have been the artistic craftsman that is Tales of Suspense #79 (July 1966). Kirby had abandoned
Kirby was, nor as accomplished a wordsmith as Lee, doing full pencils on the “Captain America” strip in
#68 and returned in full force with #78. In the interim,
he and Lee had brought the promise of the grandiose
years to full flower with the Inhumans saga and
Galactus trilogy in the FF and the Hercules epic in Thor.
Now Kirby returned to “Captain America” with the
first part of a story that would bring the Red Skull into
contemporary Marvel continuity (his previous
appearances in Suspense had been in retro-stories set
during World War II). One of the characteristics of the
grand style was that it tended to make the stakes for
which the heroes battled much higher than they were
before. And so, with the possession of the “Cosmic
Cube,” the Red Skull became more than just a soldier or
member of a political party; now he’d have the power
to alter reality itself. The story begins simply enough
with Cap being attacked by a mysterious band of high-
tech mercenaries wearing hypno-helmets. Cap defeats
them of course, but not before the reader is informed of
the creation of the Cosmic Cube, which may well be
“the most potent device in all the world!” Meanwhile,
over in the “Iron Man” feature, a new maturity had come
into the artwork as Colan’s style, always quite
advanced, continued to infuse the strip with a somber
seriousness. This time Tony Stark finds himself on
the run, his factories closed down and his assets
impounded for failing to heed a Congressional
indictment. Ironically, even as his private life seems to
be falling apart, Iron Man is hailed by the public as a
© 2009 DC Comics.
national hero. An opening three-page sequence showing

Stark staggering weakly through the empty, nighttime
streets became a staple in Colan’s arsenal of moody
scenes appearing in such strips as Captain America,
Superman #211. Here, Jack Abel does the Daredevil and Dracula over the years. The master of
inking honors over pencils by Curt Swan. Abel the “moving camera” technique of panel layout and
would have a long career at Marvel where he not shy in spotting blacks, Colan brought a definite
did effective work on Colan before Tom Palmer air of film noir to his work. Complimenting the artist
made the scene!
here is Jack Abel’s suggestive inking.

Tales of Suspense #80 America and the Red Skull is more

“When Fall the Mighty!”; Stan Lee (script), Gene Colan (pencils), than a physical one, it’s symbolic
Jack Abel [as Gary Michaels] (inks) too: “So long as evil lives, to
“He Who Holds the Cosmic Cube”; Stan Lee (co-plot), muster the forces of bigotry, greed,
Jack Kirby (co-plot & pencils), Don Heck (inks) and oppression, the fight goes on!”
Cover: Jack Kirby (pencils), Don Heck (inks)
the Skull says to Cap. “So long as
Tales of Suspense #80 (Aug. 1966) begins with a fabulous cover by Kirby men take liberty for granted, so
depicting a triumphant Red Skull holding aloft the Cosmic Cube. Force long as they laugh at brotherhood,
lines and flying debris suggest that the cube’s power is such that, even sneer at honesty, and turn away
without a guiding will, it can whip its immediate surroundings into a from faith, so long will the forces
turmoil. In keeping with the grand style, the conflict between Captain of the Red Skull creep ever closer
to the final victory!” As good as
Lee’s scripting could be in these
years, when he found suitable
vehicles (such as Captain America
or Mr. Fantastic) for expressing the
lofty ideals that were increasingly
becoming a part of Marvel’s
philosophy, no one said it better
than he did. The two enemies clash
on a deserted island after Cap
discovers the existence of the
Cosmic Cube, a device developed
by the evil scientists of AIM
(Advanced Idea Mechanics; such a
neat acronym it’s a wonder no real
world company has asked to use
it!) that can make any thought of
the person holding it a reality.
That’s bad enough, but what’s
worse is that the Red Skull has
stolen it! Racing against time, Cap
arrives just as the delivery of the
cube is being made to the Skull.
Underscoring the banality of his
evil, the Skull (who earlier in the
story blithely orders a loyal servant
to kill himself after he steps from
the room) eschews the flashy
costume expected of comic book
villains and instead attires himself
in a simple business suit. He doesn’t
need anything else. Well, except
maybe a concealed “stun gas
emitter” beneath his shirt which he

uses to down Captain America.
Afterwards, when our hero wakens,
Cap realizes he’s too late to stop
the Skull from getting his hands
on the cube. In a final, chilling
scene, he can only stand by and
This quickie sketch of CAp by Kirby hardly suggests the larger watch as the Skull begins to test his
than life qualities that were infecting the “Cap” strip in Tales of awesome power. Over in the “Iron
Suspense during the grandiose years.
Man” strip, the armored avenger

finds himself fighting for his life against a The Mighty Thor #131
maddened Sub-Mariner in the first part of a cross- “They Strike From Space!”; Stan Lee (script),
over story with Tales to Astonish. Still weak from Jack Kirby (pencils), Vince Colletta (inks)
events in the issue before, Iron Man spends half the “The Warlock’s Eye!”; Stan Lee (script),
story getting batted around by Namor before Jack Kirby (pencils), Vince Colletta (inks)
managing to lock himself in his lab. What happens
next? To be continued! Although the grand style permeated every book in
Marvel’s stable of titles, not every one featured all
Tales of Suspense #81 of its elements at the same time (Daredevil and
“The Return of the Titanium Man!”; Spider-Man for instance). The Fantastic Four and Thor
Stan Lee (script), Gene Colan (pencils), were two that did, and for that reason became the
Jack Abel [as Gary Michaels] (inks) flagship books of the grandiose years. A case in
“The Red Skull Supreme!”; Stan Lee (co-plot),
point is The Mighty Thor #131 (Aug. 1966), “They
Jack Kirby (co-plot & pencils), Frank Giacoia (inks)
Cover: Gene Colan (pencils), Jack Abel (inks) Strike From Space,” in which Thor finds himself in
Olympus upon returning from his victory in Hades.
“I mustn’t panic! Mustn’t give way to despair!” But, rarely in these months for a title drawn by
thinks Captain America in Tales of Suspense #81 (Sept. Kirby, this issue serves mainly to set the scene not
1966) as he prepares to fight the most desperate, only for Thor’s next multi-part epic, but for stories
most hopeless fight of his life against a totally
merciless enemy with the power to bend all reality
to his will. The grandiose years didn’t get better than
this as Lee and Kirby pitted our hero, the very symbol
of hope and faith and sacrifice against the Red Skull,
the living embodiment of everything evil mankind
has ever been prey to. It was a symbolic clash of
good versus evil on a titanic scale as the Skull, drunk
with power, first gives Cap a vision of his plans for
the future (that includes himself crowned like some
mad Napoleon launching a regimented human race
into space to conquer the universe) and then forces
him into battle with an artificial man (created, like
some dark reversal of Genesis, from the dust of the
earth). But somehow, the human spirit triumphs and
Cap surmises that no matter how powerful the
Cosmic Cube makes him, the Skull is still limited
by his humanity. Taking advantage of a moment
of indecision, Cap knocks him down, jarring the
cube from his grasp. Then, with the Skull’s final,
desperate, inchoate thoughts reaching out to the
tumbling cube, the island breaks apart, burying him
and the cube beneath the sea and tons of rubble.
Again, it was the conclusion of a story that Lee
and Kirby manage to turn from what could’ve been
© 2009 DC Comics.
a mere slugfest, to one that at least seemed more

significant with its oversize panels and figures and a
script that hinted that more was a stake than the
simple defeat of a madman. Meanwhile, after having
fought off the Sub-Mariner in Tales to Astonish #82,
Tony Stark has made up his mind to reveal the secret Wonder Woman #105, page 3. This origin
sequence probably went far in capturing the
of Iron Man’s armor to Senator Byrd’s congressional hokier elements of some classical myths, but
committee. But flying to Washington as Iron Man, some literal retellings are best left
he’s ambushed by the revived, more powerful than unrecounted. Luckily, Marvel specialized in
ever, Titanium Man! repackaging mythical stories in a way that made
them more palatable to modern readers!

to follow upon its conclusion. For instance, in poses a threat to anyone! But be that as it may, he
Asgard, Thor finally gets permission from Odin to offers to remove Earth from the space lock in return
marry Jane; meanwhile, on the advice of her exotic for Thor’s help. The thunder god agrees, and to
looking roommate, Jane has left New York for a accompany him the Colonizers provide him with
teaching position in Europe; on Rigel, the alien one of the most interesting creations Lee and
Colonizers express concern over something called Kirby ever came up with: the Recorder. Humanoid
the Black Galaxy; and back on Earth, Jane’s roommate in shape, the Recorder is simply a device that’ll
turns out to be an alien named Tana Nile who’s preserve whatever happens to Thor on its
claiming the planet for herself! By the time Thor “derma-circuits” for later study by the Colonizers
arrives on the scene, Tana Nile has already placed (providing it gets back that is!). But along the way,
the planet in the grip of a “space lock” which can the robotic Recorder assumes a kind of emotionless
drag it from orbit should its people not submit personality that endears itself not only to Thor but to
themselves to the alien’s will. “I wish to stake a the reader as well. The interesting thing about the
claim!” Tana Nile tells her superiors back on Rigel (in Recorder is that the way Lee wrote its uninterested
a spectacular montage by Kirby, the scene shifts from observations, interrogatories and conclusions, they had
her to a full-page view of the technological wonders a habit of coming out sounding flat and unnecessary
of Rigel, to the planet’s nerve center to a close-up but at the same time vaguely satirical! “Observation:
of a trio of lab workers). “The other Colonizers A battle between god and bio-versal entity is about
have ignored Earth because of its small size and to ensue!” says the Recorder in #133 as Thor is
relative unimportance!” But then, just as a team of fighting for his life against a deadly anti-body. Or
inspectors from Rigel arrive to verify Tana Nile’s when it and Thor are swamped by anti-bodies, and
claim, Thor shows up at Jane’s apartment with the Thor, in godlike wrath, warns them off, “Observation:
good news from his father and spoils everything!
It was a relatively unobtrusive opening for a story
that would launch Thor into the farthest reaches of
space and into an adventure of such inspiration, that
it would challenge even the Galactus trilogy itself
for sheer awe and wonderment.

“Where Gods May Fear to Tread”; Stan Lee (script),
“The Dark Horse of Death”; Stan Lee (script),
In The Mighty Thor #132 (Sept. 1966), Thor arrives on
Rigel ready to do battle with those who’d enslave
the Earth, but instead he’s asked for help in stopping
a menace so great that even the powerful Colonizers
are in stark fear of it. Called the “Black Galaxy,” it’s
an area in space that’s been expanding for untold
ages, and the Colonizers suspect that whatever’s
inside is almost ready to emerge. “In truth, it is
the most mysterious, the most deadly area in all
the known universe!” the Colonizer Grand
Commissioner tells Thor. “Though we are able to
© 2009 DC Comics.
accurately chart it from the outside, no Rigelian has

even seen the inside…and lived to tell of it! Each day
it grows more powerful…more threatening! Soon,
it will break out of its shadowy confines! And,
when it does, nothing that lives…nothing in the
universe…will be safe!” The funny thing is, the High Superman #28. Hercules was a character that
Commissioner never really gives any evidence for at tracted comics creators long before Stan
and Jack came along!
his belief that whatever’s inside the Black Galaxy

It shall take more than platitudes to stem this deadly it dwarfed even a character with the power of a god.
tide!” Together, the two enter the Black Galaxy Thor is a puny gnat by comparison, a bothersome
alone, and in a final full-page collage by Kirby bacteria to be taken care of by Ego’s endless army of
depicting a huge, god-like face set amid a panoply anti-body caretakers. Vastly powerful, and vastly
of swirling worlds, they encounter Ego, the living wise, what possible chance did Thor have against an
planet, easily one of the most fantastic creations in entity who could change its make-up at will, who
the history of comics. could control the very oxygen in the air or the ever-
shifting ground that made up its epidermis? The short
The Mighty Thor #133 answer is: none! He spends all his time in The Mighty
“Behold...the Living Planet”; Stan Lee (script), Thor #133 (Oct. 1966) being bounced around from one
Jack Kirby (pencils), Vince Colletta (inks) life-threatening danger to the next as Ego shifts his
“Valhalla”; Stan Lee (script), Jack Kirby (pencils), Vince bio-matter from one form to another without surcease.
Colletta (inks)
Cover: Jack Kirby (pencils), Vince Colletta (inks) Immediately upon stepping from their spaceship on
page 1, Thor and the Recorder are confronted with
Once again, like they did in Fantastic Four #50, Lee the magnitude of the challenge facing them with a
and Kirby manage to combine their respective but mind-boggling double-page spread on pages 2 and 3
complementary talents in a perfect balance resulting as Kirby unleashed his considerable imagination in a
in the second great triumph of the grandiose years.
With the creation of Ego the two men, unbelievably, The Might Thor #133, pages 2-3. A landscape of
managed to equal if not top their introduction of pure imagination. How do you depict the
Galactus only a few months before. Not just a living impossible, the improbable, the ut terly
planet, but a living “bio-verse,” Ego presents the fantastic? Here Kirby gives it the old
college try!
reader with a menace so gigantic, so incalculable that

More Swag
More ways to part eager fans

from their hard-earned dimes!
Captain America pin (top); Iron
Man and Torch posters (above
left); Spidey Golden Record (far
left); Spidey Scooter toy (left).
This writer was drawn in by the
Marvel trading cards (above)
released circa 1966!
depiction of bio-chaos the like of which hasn’t been Thor of his plans to conquer all of space, he creates the
seen since! A kaleidoscopic terrain of flowing magma, first of an army of anti-bodies (again with a pentagonal
pentagonal scales, spiked warts and tentacular, motif) based on his study of the thunder god himself.
flaming plant life, Ego was something completely new “Never has a recorder witnessed wonderment the
to comics! “My very senses reel before the sight which equal of this!” What follows is more a guided tour of
doth confront us! Of all the galaxies known to man or Kirby’s imagination than of Ego’s body as Thor and
immortal, this is surely the most incomprehensible!” the Recorder move from one danger to the next. At
says Thor in what was possibly the understatement of last (after rescuing the Recorder from beneath tons of
the year! “…Ego! Classification: multiple virus living rubble; “Observation: for the first time, a recorder feels,
matter! Size: planetary range! Location: existing not in the emotion of gratitude!”), Thor tires of the contest
physical universe, but in a fluid bio-verse! Conclusion: and unleashes lightning to ravage Ego. Though it
the planet upon which we stand is not merely a actually does him little harm physically, Thor’s escape
receptacle upon which life dwells, it is truly life itself! under cover of the lightning strikes directly at Ego’s
Here, within the only known bio-verse in all of creation, idea of his own self-worth. Apparently shaken by
we are in the presence of Ego, the living planet!” adds crippling doubt and uncertainty, the living planet
the Recorder unnecessarily. Later, after Ego informs vows to withdraw from the rest of the universe. “For


The Mighty Thor #134, page 15. Charles

Darwin was never like this! School choice
seems to be succeeding for Jane Foster as she
works to educate some new-men in a classroom
atop Wundagore Mountain!
the first time in countless millennia I have been bested!

Never again shall I suffer such humiliation!
Henceforth, my bio-verse shall be sealed off from
each and any known universe! I shall ever be a
world apart—till eternity crumbles!” It was a unique
and completely unexpected way to defeat such an
overwhelmingly powerful villain. Bonus! This issue’s
installment of “Tales of Asgard” (a back-up feature that
continued to be as interesting as the main story)
features the first appearance of Hela, goddess of death,
as Lee and Kirby continued to introduce elements of The idea of speeding up the evolution of
Nordic myth into the continuing adventures of Thor animals was not a new idea as evidenced by
in some indeterminate time in his long career. this scene with Charles Laugh ton from the
film Island of Lost Souls (1933) which itself
The Mighty Thor #134 was an adaptation of H.G. Well’s novel The
Island of Dr. Moreau.
“The People-Breeders”; Stan Lee (script),
“When Speaks the Dragon”; Stan Lee (script), European mountain range. One of this issue’s most
Jack Kirby (pencils), Vince Colletta (inks) stunning, and inventive scenes (out of many) involves
Cover: Jack Kirby (pencils), Vince Colletta (inks) Thor’s finally catching up to Jane in a classroom filled
With the conclusion of the Ego story, Lee and Kirby with “new-men” obviously derived from various
were presented with the same problem they had with kinds of animals! (“Is that a new pupil who interrupts
the Galactus trilogy: how in the world do you top it? our class so suddenly?” asks a hyena creature looking
Well, “The People Breeders” in The Mighty Thor #134 up from his studies. “We shall soon find out!” replies
(Nov. 1966) was a real good try! Opening immediately his mule-headed [!] classmate). But Thor and Jane’s
following the events of the previous issue, the story happy reunion is interrupted by a blast from the High
begins with Thor’s return to Earth (and a beautiful Evolutionary’s genetic chamber where he’d been
full-page illustration by Kirby of a close encounter experimenting with a wolf. “Should my bestial subject
with Galactus [his first appearance since FF #50]) as survive,” warns the High Evolutionary, “he will…be
he contemplates entering the Black Galaxy and far more than a wolf whose evolutionary process
consuming Ego! “I do so…not out of greed…not out of was speeded up! …he will be the ultimate end of
hate…not out of ambition…for those are emotions of evolution…a combination of the supreme man…
lesser beings! I do so because I must…because I coupled with the supreme beast!” Fun fact: this
am…Galactus!” (But that, as they say, is a story for issue also features (as the blurb on the cover says:
another time!) just as Tana Nile is informed that she “In possibly the briefest, most unnecessary guest
can’t claim the planet as her own (mostly because she appearance you’ve ever seen!”) a few panels of the
has a pressing engagement back on Rigel; namely her Avengers’ Quicksilver and the Scarlet Witch.
surprise wedding to the High Commissioner!).
Meanwhile, growing out of a sub-plot that had been The Mighty Thor #135
running through a number of previous issues, it “The Maddening Menace of the Super-Beast”;
develops that the man who’s employed Jane Foster as Stan Lee (script), Jack Kirby (pencils),
a teacher is a mysterious fellow named the High “The Fiery Breath of Fafnir”; Stan Lee (script),
Evolutionary. As his name might imply, the High Jack Kirby (pencils), Vince Colletta (inks)
Evolutionary is conducting experiments in evolving Cover: Jack Kirby (pencils), Vince Colletta (inks)
animals into man-like equivalents. Thor gets onto
Jane’s trail and finds her in a fantastic, high-tech castle Emerging from the High Evolutionary’s genetic
called Wundagore hidden in some unnamed chamber at the start of The Mighty Thor #135 (Dec. 1966),
and evolved a million years into future, the man-wolf

wastes little time in jumping Thor. Daredevil, John Romita made the leap to Amazing Spider-Man #39 (Aug.
“By employing a science which 1966) replacing the departed Steve Ditko. But the question was, could he
will not be discovered for fifty fill the shoes of the man who’d been responsible for at least half of the
thousand years, I destroy your strip’s heart and soul? Having proved his mastery of the Marvel style on
time sense—leaving you eternally the Daredevil strip (especially in his excellent last few issues there), Romita’s
unable to move! My intellect first few issues of Spider-Man were unaccountably stiff due to being
makes me supreme—and my instructed by Lee to try to draw like Ditko. It may have been sound
savage wolf ancestry makes me the editorial advice, but advice that was soon ignored as Romita’s own not
most deadly being alive!” Nothing inconsiderable talent soon asserted itself. Meanwhile, other changes in
if not egotistical, the man-wolf is the strip came just as suddenly as the switch in artists. It was as if Lee had
nevertheless forced back into the drawn a line in the sand separating the time when the Spider-Man book
genetic chamber where he busies was at least a true creative partnership (which included a much higher
himself creating more new-men
sympathetic to his destructive point
of view. In the meantime, the High
Evolutionary agonizes over his
tampering with the processes of
nature, but significantly, neither
he nor Thor
condemn his actions.
Instead, when the
man-wolf is defeated,
the High Evolutionary
takes his remaining
creations into space
in search of a world
for themselves, away
from humanity.
Capping a string of
wonderfully
creative issues that had begun way
back in #116, this book represents
the culmination of a multi-story
series made up of intertwining plots
and sub-plots. After this issue
though, future stories would
become more defined, with more
distinct beginnings and endings.
Kirby’s free-wheeling plotting
style that’d characterized the early
part of the grandiose years came to
an end and was replaced by more © 2009 Marvel Characters, Inc.
self-contained one-, two- and three-

part stories. The new trend was the
first hint that the grandiose years
had already begun to wane.

“How Green Was My Goblin!”; Stan
Lee (script), John Romita (pencils & A sketch of the Green Goblin by John Romita. Amazing Spider-
ink touch-ups), Mike Esposito [as Man #40 would mark the first “end” of the Green Goblin, but
Mickey Demeo], (inks) the character was brought back for Spectacular Spider-Man #2
Cover: John Romita (pencils & inks) before being put down for the count in the classic Amazing
Spider-Man #122.
Fresh from his apprenticeship on

degree of participation by Ditko than merely unmasked Spider-Man being pulled through the sky
expanding on Lee’s plot synopses) from this new by a triumphant Green Goblin. Could it be true or was
era in which he would assume both plotting and it merely an imaginary story? As it turned out, it
scripting chores as well as make all the editorial wasn’t. The Goblin really does learn our hero’s
decisions. Like a dam bursting, the changes came identity, ambushes Peter Parker just outside his quiet
flooding out, hitting readers all at once in this Westchester home (which seemed to make things all
landmark issue, “How Green Was My Goblin!” It’s the more unsettling for readers; to have Spider-Man
been told how Lee and Ditko disagreed on story and fighting as Peter Parker amid the normal, everyday
character points in the Spider-Man strip, but since Lee surroundings of what they’d become accustomed to
was the editor, he usually had the last word. Thus, as Peter’s private sanctuary both from the grotesque
Peter Parker graduated high school and the Green super-menaces he fought in his costumed identity and
Goblin would be revealed as a character already from the bullying and ridicule he sometimes suffered
familiar to readers (both developments Ditko is as a high school student and responsible nephew),
rumored to have disagreed with). Now in complete defeats him and drags him back to his hideout. There,
control of the strip, Lee made more changes. Suddenly at the conclusion to the story, the reader is given
Peter Parker no longer looked like a square. Under the final shock of finding out that the Goblin and
Romita’s hand (he had years of experience drawing industrialist Norman Osborn (the father of one of Peter’s
the beautiful people who inhabited DC’s romance classmates) are one and the same. There couldn’t have
comics) he was actually good-looking and would soon been a clearer signal that things in the Spider-Man
discard his habitual yellow vests and blue slacks for book just weren’t going to be the same again!
turtlenecks and flared jeans. The women in his life
(even Aunt May!) became more glamorous; gone were Amazing Spider-Man #40
the more average-looking Ditko girls. Old plotlines “Spidey Saves The Day!”; Stan Lee (script),
were tidied up as first the Green Goblin’s identity is John Romita (pencils & ink touch-ups),
revealed and then the long-hidden Mary Jane Watson Mike Esposito [as Mickey Demeo], (inks)
Cover: John Romita (pencils & ink touch-ups), Mike
finally emerges from behind conveniently placed Esposito (inks)
plants and lamp shades. As if to underscore the fact
that there was no turning back, this issue features one The surprises continue to come on fast and furious in
of the truly shocking covers of Silver Age Marvel as Amazing Spider-Man #40 (Sept. 1966) as our hero
readers were presented with the sight of a bound and learns the origin of the Green Goblin from the man
himself (it seems that industrialist Norman Osborn,
after framing one of his employees, stole some of
his discoveries, and in experimenting with one had
it literally blow up in his face! The resulting explosion
affected his mind, deranged him and led him to
become the Green Goblin). Just as Osborn finishes his
story, Spidey breaks his bonds and has one last, drag
’em out fight with his arch-enemy. But so what if he
defeats him, he’s still privy to his secret identity!
What to do? Luckily fate (or Stan Lee!) steps in and,
after being caught in an electrical feedback, Osborn
doesn’t remember a thing! Sure, it was convenient,
but by keeping the Goblin around, Lee created tension
in the strip as readers were never sure just when or if
Osborn would recover his memory. But some things
never change, including Peter Parker’s luck. With
Aunt May ill, he gets dressed down by Dr. Bromwell
Superman #129 and World’s Finest #215. for being too wrapped up in himself to care about
Although DC regularly deceived readers with
stories that turned out to be dreams, hoaxes,
anyone else! But it turns out the best medicine for his
or imaginary stories, Marvel had built a aunt is to have her feel needed. And so, our tale ends
reputation for realism and by the time of the with a robust but bedridden Peter being fed chicken
grandiose years, when its characters were soup by a doting Aunt May, while in a hospital
subjected to life changing events, they were room across the city, Harry and Norman Osborn
expected to be permanent.
start getting to know each other all over again.

Tales to Astonish #82 of Namor’s attack as he pounds Iron Man through a mass of shattered
“The Power of Iron Man!”; Stan Lee machinery. A few pages later, Iron Man returns the favor by doing the
(script), Gene Colan and Jack Kirby same to the Sub-Mariner. In a cascade of crumbling masonry and flying
(pencils), Dick Ayers (Inks) debris, Kirby rockets the reader through the story, leaving writer Roy
“The Battle Cry of the Thomas (who was filling in for Lee) to keep up as best he could. It was a
Boomerang!”; Stan Lee (script),
Jack Kirby (layouts), great last-minute, fill-in job by Kirby that nevertheless demonstrated in no
Bill Everett (pencils & inks) uncertain terms just why Marvel was beating the pants off its
Cover: Gene Colan (pencils), Dick
Ayers (inks)
In a memorable two-issue stand
beginning with Tales to Astonish #82
(Aug. 1966), Kirby returned to full
pencils on the “Sub-Mariner” strip.
Although the first two pages
had been completed by Gene
Colan, the feature’s
regular artist, Kirby
was called in on
an emergency basis
when Colan came
down with sickness.
But a lot had
changed since the
last time Kirby had
drawn the character.
In full grandiose
mode, Kirby’s Sub-
Mariner was no
longer the skinny fish man he’d
been in his earliest appearances in
the FF book, now he was a bulked-
up heavy-hitter (not that he was
chopped liver under Colan’s
control either!). And Kirby’s art left
Namor’s power in no doubt. Laid
out in huge, half- and quarter-page
panels (okay, so maybe Kirby used
big panels in order to save time if
this was rush job, but they still
worked!), Kirby’s art underscored
the new, larger-than-life aesthetic © 2009 Marvel Characters, Inc.
of the grand style. With his wide
open panels, Kirby really went to
town in his depiction of this issue’s
battle between Namor and Iron
Man (which was continued from
Tales of Suspense #80 where Subby
thought Iron Man was involved
with the abduction of his main Tales to Astonish #82, page 4. Pulse-pounding action by the king!
Teamed up again with Darlin’ Dick Ayers, a reader could almost
squeeze, Lady Dorma). A
feel the impact of the blow struck by Sub-Mariner in panel 1! A
masterpiece of action layout, the typical super-hero fight scene, but now writ large in the
artist leads off with a half-page panel grandiose manner! Compare this page to Colan’s rather genteel
that positively rocks with the force tussle going on on the cover!

competition: there just wasn’t anything like this kind laying out the book in half- and quarter-page size
of high-powered action going on anywhere else in panels, Kirby used the open spaces they provided to
the industry! By contrast, the accompanying “Hulk” full advantage as Namor dive-bombs Krang’s ship
strip in the second half of the book was struggling. (“Spleeeunngg!” Marvel’s sound effects were at least
Although laid out by Kirby, the various artists who creative if not grammatically correct!) and nearly sinks
worked over him since he’d given up full pencils it. Meanwhile, “Number One,” leader of the Secret
with #70 had proved inadequate. Despite continued Empire, is trailing the sea prince in order to recruit him
good sales (that would eventually lead to his own title) as an ally in his evil schemes. Imagine his delight when
creatively, the “Hulk” strip would never recover. Lee Namor, in being struck by Krang’s “fleet destroyer”
would continue writing the strip for some time, as he missile, is rendered amnesiac and plunges into the sea
does here, maintaining the degree of nervous anxiety in just out of reach of his boat? Can things get any
its characters that readers had come to expect (a worse? Don’t answer before going on to this issue’s
running sub-plot involving a mysterious group called second feature! In the “Hulk” story, other members
the Secret Empire added spice to the strip). There were of the Secret Empire (for whom artist Bill Everrett
worse looking features (like “Dr. Strange” after Ditko has a better feel than he does for the strip’s title
left and “SHIELD” when Kirby wasn’t on full pencils), character) have their own agendas, such as those
but the fact remained, the “Hulk” strip just wasn’t up to attending a secret board meeting to discuss the
the standards set by such features as the FF, Thor or failure of agent Boomerang to steal the experimental
Spider-Man. The problem was, with increasing success, Orion missile. But in the middle of the meeting
Lee needed to find more talent. He’d recruited artists “Number Two” renders everyone else unconscious
Colan and Romita (and would soon have Gil Kane and and seizes control of the organization! Does this set-
John Buscema) and writer Thomas, but until he could up a confrontation between himself and Number
hire more quality talent, he’d have to make do with the One (with Namor as his new ally) over in the “Sub-
people he had on hand. Unfortunately, such artists as Mariner” strip? Of course it does!
Bill Everrett and Marie Severin, while suitable for
some assignments, just weren’t fitting in with the Avengers #32
company’s new super-hero dynamic; their strengths “The Sign of the Serpent”; Stan Lee (script),
lay elsewhere. Don Heck (pencils), Don Heck (inks)
Cover: Don Heck (pencils), Don Heck (inks)
Tales to Astonish By this time, the grandiose years were in full swing, and
#83 yet there still were some of Marvel’s books that were
“The Sub-Mariner largely unaffected by its influence. The Avengers for
Strikes!”; Stan Lee instance, continued to be the meeting place for the
(script), Jack Kirby
(pencils), Dick Ayers (inks) company’s excess heroes, and rather than going into
“Less Than Monster, outer space or fighting space gods, most of the conflict
More Than Man!”; (and interest) of the title lay in the complex relation-
Stan Lee (script), ships between its colorful cast of disparate characters.
Jack Kirby (pencils), One of Marvel’s most text-heavy strips, it was the varied
Bill Everett (inks) personalities of Captain America, Hawkeye, the Scarlet
Cover: Jack Kirby Witch, Quicksilver, Goliath and the Wasp that made the
(pencils), Bill Everett (inks) book so interesting. Concerned mostly with more
The action continued, down to earth villains (if Kang the Conqueror, Dr.
Kirby-style, in Tales to Doom and the Collector can be considered ordinary!),
Astonish #83 (Sept. 1966) as the Avengers never became a strong vehicle for the
the Sub-Mariner, realizing Penciler Bill grand style. Until this issue that is. Following quickly
that Iron Man had nothing Everet t seemed on the heels of FF #52, Avengers #32 (Sept. 1966) was the
to have a better
to do with Warlord first of a two-part story addressing again the issue of
feel for the “Hulk”
Krang’s abduction of the in Tales to Astonish racism. This time however, it was done more directly
Lady Dorma, abandons than he did for the than in the introduction of the Black Panther, which
his fight with the golden “Sub-Mariner,” his treated its black characters in a matter-of-fact fashion
avenger and makes a own creation. Or that hardly even acknowledged the color of their skin.
was it the Kirby But with “The Sign of the Serpent,” Lee would tackle the
bee-line to Krang’s
layouts that
warship off the Long helped?
subject head-on in a story unflinching in its brutal
Island coast. Once again honesty. Sure, the villains were a secret society of

costumed bigots calling themselves Heck. Perhaps the single strongest artistic effort in his whole career at
the Sons of the Serpent (“As the Silver Age Marvel, Heck in this two-part story shines as never before.
original serpent drove Adam and Penciled and, most significantly, inked by himself, Heck delivers a
Eve from Eden—so shall we drive stunning tour de force beautifully and tastefully laid out. Every page is a
all foreigners from this land!”), but wonder and a delight, especially those featuring Goliath, Hawkeye and the
how much different was that from Black Widow! Really impressive was Heck’s expert use of blacks in night
the real life Ku Klux Klan? Like the
Klan, the Serpents preached bigotry
and racial hatred and an extreme
form of nationalism, preying on
people’s secret fears and insecurities.
Opening in a dark alley, the story
begins with a group of Serpents
beating up on an Hispanic man. At
a nearby window, witnesses refuse
to get involved (“It’s none of our
business!”). The Avengers fit into
the picture when, later that night,
Goliath’s black lab assistant, Bill
Foster, is similarly caught and
beaten. (“He got what he deserved!
He refused to swear never to set
foot in this neighborhood again!”)
But when the Avengers “declare
war” on the Serpents, Captain
America is captured and the team
is blackmailed into
publicly acknowl-
edging their support
for them. Away
from such strong
plotting partners as
Kirby and Ditko,
Lee had a penchant
for preaching (which,
the way he did it,
wasn’t a bad thing)
and for writing
character-heavy scripts with plenty
of personality revealing dialogue

and emotional scenes. A strong
story by any standard, Lee’s balance
between Goliath’s rage at the
Serpents’ poisonous creed and the
unrequited romance between
Hawkeye and the Black Widow
with bit players such as Bill Foster,
the attorney general and the
The Avengers #32, page 11. Heck on Heck! The artist pulls out all
ordinary people that constitute the the stops in one of the best examples of his work in the Silver
various audiences, television crews Age. The huge figure of Goliath dominating panel 3 is as dynamic
and Serpent recruits make it a rich and imposing as anything Kirby was doing at the time and
mix of drama and suspense. But although not shown here, page 12 is even more impressive! It was
maybe the real star of this book isn’t all too tragic that Heck was not allowed to ink himself more
often in these years.
its cast of characters or Lee, but Don

scenes of the furtive Serpents skulking after their prey “Maybe we were wrong about the Serpents! Maybe we
through alleys and darkened, suburban woodland and need an outfit like theirs, to guard our freedom!”
the scene of Goliath venting his rage upon finding Bill “You’ve gotta be kidding! We’ve got a government,
Foster after the Serpents get through with him. The don’t we? We’ve got laws, police agencies, courts of
strongest argument against those who don’t think Heck justice!” But of course, Goliath is a good guy through
ever amounted to much, there’s just not enough that and through! Suddenly, he lashes out, condemning the
can be said about this issue’s beautiful artwork! Serpents: “In the name of patriotism, they seek to tear
down everything good and decent that America stands
Avengers #33 for! Our nation was built on freedom, not tyranny!
“To Smash a Serpent”; Stan Lee (script), Brotherly love, not hatred! Justice for all, not bigotry!”
Don Heck (pencils), Don Heck (inks) But then, just as the audience begins to come around,
Cover: Don Heck (pencils), Don Heck (inks) Captain America appears on stage shouting support for
“The blood of Americans must the Serpents. What the heck is
be kept pure!” “Once we rid going on here? Well, it probably
this nation of those of different came as no surprise to anyone
creeds, different heritages, then that Cap was an imposter, a
we shall rule, from shore to desperation measure by the
shore!” So shout the Sons of the Serpents and after a few pages
Serpent as Avengers #33 (Oct. of required action, the Sons
1966) opens, the concluding are defeated. Unmasked, the
chapter in a story that deserves Supreme Serpent turned out to
a place at the very pinnacle of be General Chen. Admittedly,
the grandiose years. Without a pretty disappointing, but the
noticeable seam between the revelation in no way detracts
quality of writing and art from from the power of this story
this issue and the last, Lee and nor its ultimate message. In an
Heck smoothly draw their America that has suffered the
cautionary tale of hate and demagoguery and constitu-
intolerance to its dramatic tional brinksmanship of a
conclusion. With Captain recent presidential election,
America a prisoner of the with crowds screaming in the
Serpents, the Avengers are streets of Florida for voter
forced to take part in the Sons’ redress and rabble rousers
propaganda campaign and to inflaming minorities with
appear at one of their rallies. trumped up charges of
A scourge in the nineteenth century discrimination, the warning
Meanwhile, the international
that climaxed in the 1920s, the Ku
situation grows tense as visiting Klux Klan had not completely
this story presents is as timely
Southeast Asian General Chen, disappeared by the time Stan and Don today as it was when it was
meeting with US officials at the produced the landmark Avengers #32- written nearly forty years ago.
United Nations, rants at the 33. The racist organization was no “All I had to do was make
country’s seeming hypocrisy: doubt the “inspiration” for the Sons Americans distrust each other,
of the Serpent.
“America claims to be a land of and then hate each other!” says
freedom, and yet they allow the a defeated Chen. “For a fearful
Sons of the Serpent to preach their doctrine of hatred nation becomes a divided nation, and a divided nation
and tyranny on every street corner!” “You come from a is a weak nation!” “Why were we so blind, so gullible?”
land where countless thousands live in abject fear, asks a bystander. “…Let’s never forget the lesson
where they may not speak, or read, or even think as we’ve learned here today,” replies Goliath. “Beware
they please! And you talk of freedom!” replies of the man who sets you against your neighbor!”
(sometime Iron Man nemesis) Senator Byrd. That night, “For whenever the deadly poison of bigotry touches
Goliath appears on stage at the rally. Will he go through us, the flame of freedom will burn a little dimmer!”
with his support for the Serpents? Just his being side by When it came to putting words together, Lee really had
side with them is enough to sway some and disappoint no equal in comics and as was said before, Heck came
others in the viewing audience: “It’s like a nightmare! through here with one of the best jobs of his long career.
Why the Avengers? Why would they stoop so low?” Silver Age Marvel didn’t come any better than this!

Fantastic Four #57 Kirby’s last years with the company must be considered the yardstick by
“Enter Dr. Doom”; which the remainder of the grandiose years are to be measured. That’s
Stan Lee (script), Jack Kirby not to say that Lee didn’t have a hand in the elements that shaped those
(pencils), Joe Sinnott (inks) years. To the contrary, Lee’s editorial vision, his superior scripting
Cover: Jack Kirby (pencils), ability and his undoubted concern for issues far beyond the provincial
Joe Sinnott (inks)
world of comic books were contributions of equal importance; maybe
After emerging suddenly near the more. Be that as it may, issues of the FF immediately following the
close of the years of consolidation,
Marvel’s grandiose phase
established itself quickly, then rose
sharply along a steep curve before
peaking relatively early with
definitive stories in the FF and
Thor. The Galactus trilogy and
the Ego saga turned out to be
the “twin peaks” of the era, and
what followed, although highly
imaginative, creatively significant
and often punctuated
with brilliance (for
the small pond of
the comics industry,
that is) was never-
theless more of the
same. As it turned
out, a plateau had
been reached, still
far and away higher
than almost anything
else produced in
the history of comics, but still, in
comparison to what had just
passed, not quite as original. Of
course, there’d be plenty more
great stories to be told, but none
with the wild inventiveness of
Galactus or Ego. This may have
been the result of an increasing
dissatisfaction by Kirby in his
situation at Marvel where, no
matter how integral he may have
been in the creative process, like
Ditko, the final shape of his creative
notions were ultimately in the

hands of Lee (who, in the meantime,
as point man for the company,
had become the face of Marvel
Comics everyone recognized).
Furthermore, with the departure
of Ditko, it was made plain that far
from suffering, sales on his books Fantastic Four #57, page 15. The Silver Surfer is humbled by
only increased. And so, as the last Doom. One of many dramatic moments of the late Silver Age
(and most important) of the Three captured in all their grandiosity by King Kirby (with a little help
from Joe Sinnott)!
Musketeers of the pre-hero days,

high point of the Galactus trilogy were rich with forecast evil tidings. In the mood of imminent peril
everything that made this period so great, and certainly that follows, the Thing is suddenly attacked and
the intertwining stories of Dr. Doom, the Inhumans defeated by Doom himself. Meanwhile, the Human
and the Sandman signaled no slowdown of the Torch (who has spent the last few issues searching for
hurtling plots that continued to leave fans breathless a way to get inside the barrier that still holds Crystal
in anticipation of ensuing chapters. Fantastic Four and the other Inhumans prisoner) arrives atop the
#57 (Dec. 1966) for instance, while also including Baxter Building. Observing the damage done during
overlapping storylines, was primarily the epic tale of Doom’s encounter with the Thing, he seeks out Reed
how Dr. Doom, the world’s most fearsome tyrant, and Sue at their home in the suburbs arriving just as
steals the almost limitless cosmic power of the Silver the arch-villain is about to kill his partners. Wasting
Surfer and becomes literally unbeatable. It was just little time, the Torch attacks, but the confrontation
the kind of story expected of the grandiose years; of a between himself and the cosmic-powered Doom
villain, who in earlier appearances posed a certain becomes so all-consuming that his partners are forced
threat but nothing really that readers couldn’t expect from the house. (In keeping with the grand style,
the FF to handle, but whose threat level has been characters like the Torch who, only a few years
ratcheted up to almost unbelievable proportions. This before were being harassed by Spider-Man, are now
issue’s story is possibly the ultimate example of the infinitely more powerful. For instance, here we learn
kind. It starts innocently enough (if you can call a that when the Torch threatens Doom with the use of
jailbreak by members of the Frightful Four innocent) his “super-nova blast,” it can “instantly kill half the
when the FF are lured to State Prison and get population of this hemisphere.”) Again the Torch
ambushed by Sandman and the Wizard. Although attacks and a massive explosion follows, but the
the Sandman escapes, the FF will soon find out that status quo remains unchanged: Doom still stands
he’s the least of their problems as, on the other side of (or rather hovers!) over the ruins of the house, as
the world, a honey-tongued Dr. Doom seduces the powerful as ever (a scene beautifully captured by
trusting Silver Surfer into dropping his guard (Doom Kirby on this issue’s cover). But Doom makes a
had invited him to his castle posing as an altruistic mistake that will eventually prove his undoing: he
“servant of my people”). Giving the Surfer a tour of allows the FF to live. “You, who have never before
the castle (and blithely explaining away all the been vanquished, shall live out the rest of your days
machinery of death lying around as “weapons with in abject hopelessness…never knowing when I shall
which to defend myself from the dastardly enemies snuff out your worthless lives at a whim!”
of freedom!”), Doom finally maneuvers him before a
view screen and while the homesick alien stands
transfixed at the sight of deep space, he attacks him
with a pair of “high intensity inductors” and robs
him of his cosmic power. The climactic, full-page
panel in this sequence is a triumph of Kirby
grandiosity as a massive Dr. Doom, still crackling
with stray bolts of cosmic energy, bulks over his supine
victim. “Now let mankind beware,” says Doom.
“For Doctor Doom has attained powers without
limit, power enough to challenge Galactus himself!”
Then, leaving the castle, Doom sets off on a hellish
victory ride leaving terrorized peasants in his wake,
the first humans perhaps to glimpse the terrible fate
in store for the entire human race!
Fantastic Four #58

“The Dismal Dregs of Defeat”; Stan Lee (script), Jack
Kirby (pencils), Joe Sinnott (inks)
Fantastic Four #58 (Jan. 1967) opens with a sense of Castle Neuschwanstein in Bavaria was
impending dread as a thunderstorm rolls over New built during the reign of Ludwig II, but could
very well stand in for Dr. Doom’s castle in
York City. In it, Mr. Fantastic, Invisible Girl and the Latveria!
Thing see an apparition of Dr. Doom that seems to

Fantastic Four #59

“Doomsday”; Stan Lee (script), Jack Kirby (pencils),
Joe Sinnott (inks)
Aptly titled “Doomsday,” Fantastic Four #59 (Feb. 1966)
opens with Reed Richards giving a grim broadcast to
the world: “The time has come for every nation, every
hostile bloc, to put aside petty differences and unite
against a common enemy, perhaps the most deadly
enemy which civilized man has ever faced!” That’s
saying something for a guy who’s faced menaces like
Galactus! But what sets Doom apart from even that
world devourer is that at least Galactus boasted of
feeling neither love nor hate; Doom on the other hand,
is driven only by hatred. And so, the world trembles
in anticipation of Doom’s next move while Reed
slaves in his laboratory to come up with a weapon that
can defeat him and Johnny practices, honing his flame With liberal use of his patented “krackle”
powers for another solo attack on the Latverian effects and jagged planetoids, Kirby was a
monarch. Meanwhile, unknown to the Torch, his master of capturing the cosmicism of outer
fondest dream comes true as the Inhumans break free space otherwise only available from satellite
photographs such as this one.
from the barrier that imprisons them in their hidden
city. But their joy at regaining their freedom isn’t felt
by the rest of the world as Doom tests his power on cosmically enhanced musculature. But finally, defeated
the helpless human race. The issue ends on a somber each in turn, the FF are backed into a corner, and just as
note with Reed, Sue and Ben sharing a meal in an Doom is about to kill them, he’s struck by an “anti-
appropriately darkened kitchen. cosmic flying wing” (don’t ask!). Another of Reed’s
timely inventions, the wing begins to drain Doom’s
Fantastic Four #60 cosmic power, but not enough. He manages to recover
“The Peril and the Power”; Stan Lee (script), and decides to chase the wing down and destroy it
Jack Kirby (pencils), Joe Sinnott (inks) before returning to finish off the FF. Turns out that’s
Cover: Jack Kirby (pencils), Joe Sinnott (inks) exactly what Mr. Fantastic wants (for Doom to chase
In Fantastic Four #60 (March 1967), with the whole the wing, not for the FF to be killed, that is!) For in
world prostrate before him, Doom determines to seize the chasing after the wing, Doom strikes the invisible
reins of power from every nation on Earth and declare barrier left by Galactus to insure the Silver Surfer’s exile
himself its ruler. In the power-packed finale, Kirby lets on Earth. Instantly, he loses his cosmic power as it
out all the stops, bringing to bear an art style that had returns to its rightful owner. Doom himself seemingly
been developing at lightning speed from the title’s first vanishes. It was the end of one of the greatest comics
crude issues only a few years before to its culmination stories of all time despite its somewhat disappointing
as the epitome of the grand style. And as each member ending (why should striking the barrier cause the
of the FF takes his turn to tackle Dr. Doom, Kirby Surfer’s power to leave Doom and return to its proper
portrays the individual contests with all the strength owner?). Filled with drama, suspense, dread and
and vigor of an Homeric epic. The Human Torch, his courage by turn, it had the luxury (which the Galactus
power now defined in terms dictated by the grandiose trilogy lacked), of more space in which to develop. Here
years, is the first to reach Doom. What follows is a also, the menace of Dr. Doom was such that it allowed
blinding series of “sun blasts” and near-nova bursts of members of the FF to continue fighting him with some
flame. But Doom, transformed into a crackling being of expectation of victory. Doom, after all, was still only
pure cosmic power, survives the Torch’s deadly attack human. But more importantly, it was clear by now that
and defeats him with a gigantic windstorm that leaves Lee and Kirby had developed a formula that couldn’t
the surrounding countryside a ruined shambles. The help but produce instant classics. But working at this
Thing is next to strike at Doom. Rushing headlong into level of peak performance couldn’t last forever. Both
one another, the two come to grips and what follows is creators had already been working in the comics industry
more like a test of wills than a physical confrontation for decades and although everything that’d come
with the Thing refusing to knuckle under to Doom’s before was but prologue, the final act couldn’t be far off.

Jim Steranko
If the dictionary had a single word that could cover everything
that was meant by sixties pop-culture, that word would no
doubt be Steranko! Born in 1938, James Steranko began drawing
early before being sidetracked by any number of unusual
occupations, each of which, in some way, would shape
artistic sensibilities that would emerge again later in his
career. Immersing himself in the developing American
pop-culture scene of the 1940s that included pulp
magazines, comics, movies, and music, Steranko was
attracted by stage magic and sleight of hand that eventually
led to more demanding performances as an escape artist.
In between, jazz and the rising popularity of rock and roll
drew him to night clubs where he performed with his own
band. His penchant for art was useful in earning extra
money as a commercial artist and later as the art
director for an ad agency where he learned the basics of
production, including what could and could not be done
in a print medium. After a failed attempt in 1965 to find
work at Marvel Comics, Steranko settled for Joe Simon at
Harvey Comics where he helped to create a handful of
super-hero characters, including Spyman and Magicman.
After a year or so, he returned to Marvel with some
sample inks over Kirby pencils which caught the eye
of staff writer Roy Thomas, who in turn brought him to
editor Stan Lee’s attention. Impressed, Lee immediately assigned
him as Kirby’s inker on the “Nick Fury, Agent of SHIELD” strip in
Strange Tales and the rest is history!
Strange Tales #151 strip needed was a dynamic artist who’d stay with
“Overkill!”; Stan Lee (script), Jack Kirby (plot & lay- it long enough to give it some sense of direction
outs), Jim Steranko (pencils & inks) and regularity. Lee may not have known that he’d
“Umar Strikes!”; Stan Lee (co-plot & script), Bill Everett found that person in Jim Steranko, but he soon
(co-plot, pencils & inks) would! Coming seemingly from out of nowhere,
Cover: Jack Kirby (pencils), Jim Steranko (inks)
Steranko just showed up in Strange Tales #151 (Dec.
Although begun on a high note with the creative 1966) as Kirby’s latest finisher. But who was he?
team of Lee and Kirby, the “Nick Fury” strip in Having spent time as an escape artist and rock
Strange Tales had soon fallen on hard times. With musician, Steranko found himself in the publishing/
Kirby laying it out, the strip had suffered a succession advertising world before being bit by the art bug.
of artists, most unsuited or too untried to do justice Interested in comics, he began shopping his material
to its heavy emphasis on technology and far-out around and found brief employment at Harvey
gadgets. The only thing that kept the strip coherent Comics. From there, he crossed town to the Marvel
and readable was the glue provided by the constancy of offices where Lee decided to give him some work.
Lee’s strong scripting sense. What the “Nick Fury” Little was Lee to know about Steranko’s ambition

which grew month by month as he graduated from Daredevil #25

just inking the “Fury” strip to penciling it as well. “Enter: The Leap-Frog”; Stan Lee (script),
Soon, the artist had turned it into a showcase Gene Colan (pencils), Frank Giacoia (inks)
of wildly creative graphic design making it the Cover: Gene Colan (pencils), Frank Giacoia (inks)
place to be for fandom insiders. But that was With the grand style everywhere in full swing, it
s t i l l down the road was left for the Daredevil book to provide Marvel
apiece; for now, Steranko with the light-hearted touch that in earlier years
was only the latest had once seemed to be the company’s trademark.
artist to firm up Kirby’s How else to explain the giant frog (with a bag of
layouts on the strip. Still jewelry in its hands yet!) on the cover of Daredevil
relatively inexperienced, #25 (Feb. 1967)? Well, as a matter of fact, it wasn’t
Steranko’s work here is really a giant frog, but who cared when the Leap-Frog
still phenomenal for the provided Colan with a good excuse for a dozen
detail of his rendering, great pages of action, action, action! Actually, the
especially for such scenes Leap-Frog was the perfect villain (the goofy, but
as Fury’s entrance into fun type that harkened back to the early days of
the ruined Egyptian city Paste Pot Pete and the Beetle, villains that most of
of Karnopolis on page 3. Marvel’s titles, with the coming of the grandiose
An interesting fore- years, had left behind) for the free swinging,
shadowing of things to carefree DD whom Lee might’ve actually enjoyed
come was Steranko’s writing more than he did Spider-Man. Certainly,
use of a photograph of a As a one-time Lee’s dialogue in the DD strip was a lot breezier
globe in Hydra rocker himself,
than it was in his other strips, perfectly complementing
headquarters on page 6. Steranko was no
doubt aware of the Colan’s increasingly loose layouts as the figure of
It was a modest many San Francisco Daredevil spun, leaped and twisted in impossible
beginning for a man type concert contortions over the night darkened streets of
whose arrival at Marvel posters that were Manhattan. “No matter what kind of weird powers
marked the beginning of cropping up on or stunts I’m up against, nothing ever beats a solid
the end of the company’s marquees
everywhere in the
punch in the kisser!” DD tells the Leap-Frog as he
Silver Age. The first of a slugs him. “Somehow, it’s so clean, so clear-cut, so
1960s, drawing his
new breed of artist, inspiration from sincere! And, best of all, it’s as American as mom’s
Steranko didn’t come to them accordingly. apple pie!” Though Colan’s art, inked by Frank
Marvel as an already Giacoia, is fabulous throughout the book, the full-
established professional page illustration of DD vainly trying to tackle the
as Romita, Colan and John Buscema did, but as a Leap-Frog is just over the top! But as usual in the
highly individualistic creator genuinely interested single-hero, Lee-dominated books, the private life
in the comic book medium as an art form. His and tribulations of the characters are at least as
meteoric rise at the company would provide interesting as the costumed action, and the
inspiration for the artists who were to emerge from Daredevil book was no exception; as a matter of
the ranks of fandom in the early seventies and who fact, the convoluted relationship between Matt
would come to dominate the next phase of Marvel’s Murdock, Foggy Nelson and Karen Page (which
history, the twilight years. Steranko was the really started going back in #18) only got more
dividing line between the older, experienced complicated this issue with the introduction of
hands such as Kirby and Ditko (who, despite their Matt’s long lost “twin” brother! Loud, wild and
undoubted talent, were still rooted in the limited crazy, Mike Murdoch was everything Matt wasn’t.
palette of traditional comics production that (“Ol’ Matt’s the one with the brains, but I’m the
hadn’t changed in decades) and the new artists family pussycat! …Try not to applaud, I’m almost
eager to incorporate the pop-art sensibilities of the as shy as I am glamorous!”) The only thing wrong
sixties counter culture. Despite the soaring heights with him was that he was a phony. It seems that
already achieved by Marvel’s grandiose years, the Karen and Foggy were starting to wise up regarding
years of decline to follow would yet boast its own Matt’s DD identity and in order to cast suspicion
brand of dynamism that would make them as away from himself, Matt dreamed up brother
exciting in their own way as the ground broken by “Mike!” But what was meant as a one-time expedient,
Lee, Kirby, Ditko and Heck in the previous era. soon developed into a permanent solution that
would go on for months until Matt actually started to prefer his life Daredevil #26
as “Mike” (for whom he could act as if he were sighted) and Karen “Stilt-Man Strikes Again”;
began to fall in love with him. There just wasn’t anything quite like Stan Lee (script), Gene Colan (pen-
Daredevil in Marvel’s entire line-up, including Spider-Man (which cils & inks)
often seemed more gloomy than light-hearted what with all of Peter Cover: Gene Colan (pencils), Frank
Giacoia (inks)
Parker’s problems)!
The overlapping storylines (as
opposed to sub-plots that built over
a number of issues and climaxed as
a main story) that had by now
become expected in such Kirby-
drawn titles as the FF and Thor,
began to appear in other books. In
Daredevil #26 (March 1967), a number
of ongoing plots
collide in what
could’ve been a
literary train wreck
but which turns out
to be a smoothly
done, exciting story
that climaxes in
the following issue.
Here, the action picks
up in court as Foggy
is defending the
Leap-Frog (captured
by DD last issue). “I ask the
defendant to study this shoe! Is it
not the same one you wore when
committing your crimes?” asks the
DA. “Nah! I never even saw it
before!” replies the Leap-Frog (who
interestingly, is never named in the
story!) “But, it was taken from your
own foot!” “I’m as innocent as a
new-born babe! I couldn’t be the
Leap-Frog! I’m scared of heights! I
even get airsick standin’ on a thick
rug!” In an incredibly stupid move,
the DA allows the defendant to try

on the springed boots and as any
reader could’ve told him, the Leap-
Frog makes his escape from the
courtroom and right into the arms
of a waiting Stilt Man (who’d come
to help the Leap-Frog escape and
make him his partner). Instead, the
Daredevil #25, page 12. Colan has clearly mastered the elements
required of full-page panels in the grandiose years! i.e., huge, Stilt Man ends up in a battle with DD
imposing figures; foreshortening 3-D effects; the illusion of that peaks in another spectacular
frantic movement; and a minimum of background detail that could Colan full-page drawing. The
threaten the impact of the main figures. Compare the artist’s Stilt Man was one of those goofy
approach to positioning his figures in the panel here to that of old-time Marvel villains who never-
Kirby’s on page 150.
theless had a fun kind of power that

now, in the latest tradition of the grand style, seemed a stumbles from the open doorway. Meanwhile, the
thousand times more formidable. Towering over the luckless Stilt Man, unable to find “Mike,” stumbles into
rooftops, Colan depicts the character with the same Spider-Man instead. Escaping him, he finds DD back
sense of weight and bulk that Kirby was giving to Dr. with the helicopter and, in trying to shoot him with an
Doom and the Sandman. But while he and DD battle electrically activated gun, shorts out his suit’s armor
downtown, the Masked Marauder, still at large and still and plunges into the river. Whew! Completing the
after Daredevil, has broken into the offices of Nelson analogy with the end of the Green Goblin, this story
and Murdock looking for clues to DD’s identity. If is actually more interesting with its wider range of
readers were expected to be shocked upon discovering characters and Colan’s faultless sense of pacing (the
that the Marauder is actually Frank Farnum, the firm’s Goblin story was only Romita’s first job on the Spider-
landlord, they probably weren’t. After all, Lee and Man book after all, and though he proved with
Colan hadn’t offered them anybody else who could Daredevil that he could work in the Marvel style, he was
possibly be a suspect! Anyway, the story ends when still trying to compete with Ditko). Having both DD
DD knocks the Stilt Man over, but so tall is he that by and Spider-Man star in the same book also helped
the time Daredevil reaches the spot where he fell, his highlight one of the things that made Marvel so
stilts have been retracted and he’s been swept out of successful. On the surface, both characters are very
sight by the timely arrival of the Masked Marauder.
Daredevil #27
“Mike Murdock Must Die”; Stan Lee (script),
Gene Colan (pencils), Frank Giacoia (inks)
Cover: Gene Colan (pencils), Frank Giacoia (inks)
Daredevil #27 (April 1967) in some ways served for DD
fans what Amazing Spider-Man #40 did for readers of
that book (and let’s face it, they were most likely the
same people!), it brought to a climax the long-running
storyline of the Masked Marauder. Like the Green
Goblin, the Marauder had a secret ID the readers didn’t
know (that turned out to be someone the hero already
knew in his private life) and he was a recurring arch-
villain for Daredevil. Unlike the Goblin though, the
Marauder almost always sought out super-powered
allies, from the Gladiator to the Stilt Man, and wasn’t
crazy (not that bad guys aren’t out of their minds
anyway!). An interesting thing about this issue is that it
contains elements from each of Marvel’s first three
phases: its humor and sense of fun that had been
dominant in the early years (“Foggy, what can we do?”
“Well, we can always resort to sheer panic!”), the years
of consolidation are represented by a Spider-Man
crossover and Colan’s ultra-realistic, dramatic art
coupled with Lee’s self-assured, knowing script
capture the grandiose years. In a fast moving story (it’s
hard to believe that it all happens in only twenty
© 2009 DC Comics.
pages), the Marauder kidnaps Matt Murdock and

Karen and learns that “Mike” is really Daredevil.
Dispatching the Stilt Man to find him, the Marauder
next forces Matt from his helicopter expecting him
to be disintegrated by the protective force field that
surrounds it. Instead, Matt manages to grab one of the Forever People #1. Beginning in a big way
’copter’s landing struts, changes to Daredevil and when he left Marvel for DC in the early
swings back aboard the ship. In the ensuing fight, the 1970s, Kirby’s first books for the company
inked by Vince Colletta looked as good as his
helicopter veers wildly about the sky until the last work on Thor.
Marauder himself falls victim to the force field when he

Marie Severin
It was only Marie Severin’s misfortune to end up at Marvel Comics, a
company whose bread and butter was super-heroes, because her strong
suits were humor and, surprisingly, fantasy of
the sword and sorcery variety. Coming from an
artistic family that included her brother, John
Severin, Marie expressed an interest in drawing from an
early age but only managed to break into the comics field as a colorist instead.
Brought to EC Comics in the late 1940s by her brother, who was already
employed there, Marie worked on the production side of the business before
the company folded. Finding herself at loose ends, she eventually returned to
comics when she was hired by Marvel in the early 1960s for its production
department. It was after a successful assignment illustrating a story for Esquire
Magazine that brought her penciling ability to editor Stan Lee’s attention.
Assigned the “Dr. Strange” strip and then the “Hulk,” Marie labored for years
on those characters before finding her true forte in Marvel’s self-parodical Not
Brand Echh. Eventually, with the popularity of sword and sorcery, she was
given Kull the Conqueror to pencil with the strip’s second issue and, with
brother John as her inker, made it one of the crown jewels of Marvel’s twilight years.
similar in that their powers revolve mainly on acrobatic Strange Tales # 153
skills coupled with swinging about with the use of a “The Hiding Place!”; Roy Thomas (script), Jack Kirby
cable or web. Both make with wisecracks when in battle (plot & layouts), Jim Steranko (pencils & inks)
and both are loners. And yet both characters are “Alone, Against the Mindless Ones!”; Stan Lee (co-plot
indisputably different; fans could be intensely loyal to & script), Marie Severin (co-plot, pencils & inks)
Cover: Jim Steranko (pencils & inks),
one and not the other. Why? The answer is the secret of Wally Wood (inks) [on Laura Brown figure]
what made Marvel so popular in these years:
characterization, characterization, characterization. Following Steve Ditko’s departure, the “Dr. Strange”
These two heroes, at once so alike in powers and strip in Strange Tales fell on hard times as writer/editor
abilities, were yet like night and day in their personalities Stan Lee cast about for a suitable replacement. But
and supporting casts. It was the individualism that how do you replace the irreplaceable? Well, if you’re
Lee gave to all his characters that not only made them on a schedule that demands something called Strange
interesting, but set them apart from each other (and Tales be printed each and every month and someone
the competition). It’s the primary reason why these of the caliber of Gene Colan or even Dan Adkins isn’t
characters, invented in the early 1960s, could still host available, you do the best you can with the talent you
their own books forty years later. Practically the only have on hand. In 1966, with the whole Marvel line
other characters in the entire history of comics to last as going great guns, there was just so much ground even
long in their own titles have been Superman and workhorse Jack Kirby could cover leaving second
Batman, and they’ve done it by virtue of having become string features such as “Nick Fury, Agent of SHIELD”
cultural icons. It’s why Kirby’s creations after he left and “Dr. Strange” open to being taken over by lesser
Marvel never succeeded, he could draw attractive lights or new, untried artists. Lee got lucky when Jim
costumes, but he failed to learn the most important Steranko walked in the door one day and ended up
lesson of Silver Age Marvel (and the reason why titles doing incredible things first over Kirby’s layouts on
not only survived after he and Ditko left, but thrived), “SHIELD” and then penciling and scripting the whole
that it was the characters’ humanity and personalities thing himself. But lightning failed to strike twice in
that made them successful, not the cut of their costumes. the case of Strange Tales’ second bill. Over the years

since coming up with the idea of Dr. Strange, artist reunited with his old creation Sub-Mariner over in
Steve Ditko had proceeded to stamp the character with Tales to Astonish). Everett’s departure however, didn’t
his own distinctive vision, one not easily mimicked mean any improvement for “Dr. Strange” as he was
by anybody else. So pity veteran Bill Everett, the poor replaced by Marie Severin, an equally unsuitable
artist who had to follow in Ditko’s hallucinogenic successor. Severin entered the comics field as a colorist
footsteps. Not a stranger to quirky inventiveness, for the old EC Comics line in the 1950s before finding
Everett had cut his teeth at Marvel in the 1940s when her way to Marvel in the mid-1960s where she
he invented Prince Namor, the Sub-Mariner for performed the same duties as well as other art chores
Marvel Comics, the company’s very first comic book. around the office. When Everett moved on, “Dr.
But many years had passed since those halcyon days Strange” became her first penciling assignment with
when readers were younger and less demanding. Strange Tales #153. As her later work on Marvel’s
Everett returned to the fold in 1964 to draw the first self-parody title Not Brand Echh would show, Severin’s
issue of Daredevil but personal problems involving strong suit was humor, with touches of the silly that
alcohol prevented him from keeping all important would become familiar to readers, later showing up in
deadlines and Lee was forced to remove him from the many of her figures on Dr. Strange. Severin’s art was
strip after the first issue. With only ten pages to draw serviceable, it did the job, and even though she later
every month, it was perhaps thought that Everett began doing cover designs (for Jack Kirby yet!) it
could keep up with the work on “Dr. Strange” and so would never find itself right for the brand of
was tapped to take over the strip from Ditko. But super-hero action demanded by the Marvel style.
Everett’s art, though adaptable for a feature like Much better suited for more realistic features, Severin
Daredevil, proved less than inspiring on “Dr. Strange” would truly shine on Kull the Conqueror, a strip based
after Ditko’s razzle-dazzle, and he soon left (to be on the character created by writer Robert E. Howard
which the artist has acknowledged being of much
greater interest to her. Severin’s stiff, quirky figures
(and sometimes oddball character designs such as that
for Zom and the Living Tribunal) would manage to
hold down the fort until the arrival of newcomer Dan
Adkins, a protégé of artist Wally Wood. Adkins in
turn, would serve as the warm-up to Gene Colan’s
fantastic turn at the strip when he took over after the
double bill in Strange Tales was split into two separate
titles. In a way, the “Dr. Strange” strip would become
an example of the transition from the Kirby-
dominated grandiose years to the twilight years that
were to be ruled by Colan’s photographic realism.
Fantastic Four #61

“Where Stalks the Sandman?”; Stan Lee (script),
Jack Kirby (pencils), Joe Sinnott (inks)
If readers had forgotten the brief incident in FF #57
where the Sandman escapes from State Prison, they
were forcefully reminded in Fantastic Four #61
(April 1967), a perfect example of how the grand style
was transforming formerly goofy villains into towering
menaces. Wasn’t it Spider-Man who first defeated
Sandman in the early, formative years by wiping
him up with a vacuum cleaner? And in the years of
consolidation, Sandman needed partners like the
Enforcers or fellow members of the Frightful Four to
help in tackling his enemies. No more. Now, as readers
Easily Marie Severin’s masterpiece, her nine-issue saw this issue, Sandman had more than enough power
run on Kull the Conqueror is second only to
Barry Smith’s work on Conan.
to put the entire FF on the ropes single-handed! And
interestingly, it was done not by making him stronger,

but merely applying some Fantastic Four #62

imagination and extrapolating “And One Shall Save Him”; Stan Lee (script), Jack Kirby (pencils),
the possibilities that were always Joe Sinnott (inks)
implicit in his particular powers. Cover: Jack Kirby (pencils), Frank Giacoia (inks)
For instance, trapping the FF in a Although Galactus and Ego might be considered the “twin peaks” of
corridor, Sandman fills it with his the grandiose years, the era produced other concepts just as exciting.
sand particles almost asphyxiating Concepts like Sub-Atomica and the Negative Zone. Introduced back in
them before the Thing can let the FF #51, it wasn’t until this issue, Fantastic Four #62, that readers were
sand out by punching a hole in the given their first good look at the Zone. Initially referred to as “sub-space,”
wall. Next, he whips back his sandy
particles with such force that he
creates a painful “tornado” and
holds off both the Thing and Mr.
Fantastic at once using two
different applications of his power.
Next, he finds the Invisible Girl
by spreading sand on the floor
and looking out for
her footprints while
snuffing out the
Torch’s flame with a
“sand cylinder.” In
fact, the only way
the FF can defeat
him is by opening
the doorway to the
Negative Zone and
having him sucked
out of the Baxter
Building! Unfortunately, the plan
backfires: the Sandman anchors
himself to the floor with his
sandy power and escapes out a
window while it’s Mr. Fantastic
himself who winds up trapped in
the Zone! Exemplifying the magic
of the grandiose years, this story
took an ordinary hero/villain
donnybrook and turned it into
something somehow grander
and more epic. When the
Sandman is caught in the draft of
the Negative Zone and feels its
powerful tug, he’s struck by the
awesome forces being unleashed,
and even though he can’t see

where he’s being drawn to, he still
senses that it’s something beyond
his (or the readers’) ability to
understand. “I never bargained
for anything like this!” he says.
“It’s like, the end of the world!
It’s starting to pull me towards Fantastic Four #62, page 8. Reed Richards puts Marvel’s
philosophy into words. If only we had listened!
the open door into, what?”

the idea behind the Negative Zone was actually old Crystal fetches Triton whose aquatic powers help
news in science fiction circles. Known there as “seetee” him survive in the Negative Zone long enough to
or contraterene matter, it was based on the theory find and rescue Reed (“I shall not soon forget the
that the universe was made up of positive and negative courage and the iron nerve of your Mr. Fantastic!”).
energy on an atomic level. Furthermore, when But unnoticed by anyone, the merciless Blastaar
these two opposite forces come into contact, they’re follows them to Earth, intent on conquering the
immediately and mutually annihilated. Frequently, planet for himself! But the real joy of this story, as it
SF stories would imagine planetary systems, some- often was in the grandiose years, came from Lee. Not
times whole universes, made up of negative energy necessarily in the words he wrote, but the feelings he
just waiting to make contact with our own, positively conveyed, the unvarnished optimism he never tired
charged universe. When Lee and Kirby first introduced of communicating to his readers, the optimism and
the Negative Zone in #51, they seemed uncertain unbounded faith he had in the human race: “But,
about exactly what its properties were. It was there will be others,” says Mr. Fantastic in what he
obviously another universe, but people could breath assumes are his last moments of life. “…Those who
there without a space suit and everything in that come after me, and they will unlock the secrets of the
universe was apparently ultimately drawn to a cosmos, one by one. For, the mind of man is the
single spot, a world that looked exactly like the Earth greatest key in the world, the key which may one day
where everything exploded once making contact open the door to…immortality! And each of us, in
with its atmosphere. But was that world Earth at all? his own way, does what he can for those who will
And if it was, why did everything get drawn toward follow! That is the only true legacy we can leave to
it and how did it exist in the Negative Zone? Well, it those we love…that we have made the world a little
didn’t matter anyway, as the mere idea of it was better than we found it!”
sufficiently awesome! Somehow, the way Kirby
drew it (he came up with a fantastic, if completely Fantastic Four #63
incomprehensible, double-page collage showing Mr. “Blastaar, the Living Bomb-Burst”; Stan Lee (script),
Fantastic adrift in the vast reaches of the Zone) and Jack Kirby (pencils), Joe Sinnott (inks)
the way Lee rhapsodized about it (“There is so much Cover: Jack Kirby (pencils), Frank Giacoia (inks)
yet to learn…so much to see, and marvel at,” muses “The power of ultimate destruction lies within my
Reed as he drifts toward his inevitable doom. “What hands! The power to wipe out an enemy—to devastate
a pity it all must end so soon…before I have a chance an army—to obliterate a world!” says Blastaar in
to unravel the myriad mysteries of this strange, Fantastic Four #63 (June 1967) upon reaching the
uncanny universe!”), it assumed strange, gigantic streets of New York. “I fear nothing! I can be
proportions pregnant with vast, unguessable stopped by no one! I am supreme! I am Blastaar!”
wonders. And even though the menaces the FF often “He’s goin’ mad! He’s drunk with power!” thinks
encountered there didn’t measure up to the Zone’s his partner, the Sandman, and with good reason!
potentiality, they didn’t take away from its essential We told you Blastaar was a hoot! The two villains
mysteriousness. Such was the case in Fantastic Four teamed up at the conclusion of the previous issue
#62 (May 1967) with the introduction of Blastaar, when they accidentally bumped into each other
the living bomb-burst! Sure he sounded nutty, but atop the Baxter Building. But now, with Blastaar
the guy was a hoot! And uncontrollable, they
he was just one of the quickly draw the
half-dozen things going Possibly an inspiration attention of the FF. The
on in this story. First for the Negative Zone, usual mayhem ensues
there’s the continuing Jack Williamson’s classic until Reed saves the
threat of Mr. Fantastic’s Seetee Ship (Seetee =
day by shoving one
CT = Contra-Terrene
being trapped in the matter—get it?) of his handy gizmos
Zone, the sudden belonged to a popular on Blastaar ’s head.
appearance of Crystal theme in science According to Reed, the
and Lockjaw (who fiction, that of device is supposed to
were freed with the rest negatively charged “prevent the explosive
worlds and/or whole
of the Inhumans back pressure from building
universes in collision
in #59) and of course the with positively charged up within his body.”
Sandman is still lurking ones! Sure, but on Blastaar’s
around. Meanwhile, head?

The Mighty Thor #140 (so-called because every time he hits something
“The Growing Man”; Stan Lee (script), or something hits him, he grows) turns out to be
Jack Kirby (pencils), Vince Colletta (inks) one of Kang’s secret weapons (hidden on Earth
“The Battle Begins”; Stan Lee (script), against some future emergency or in the time
Jack Kirby (pencils), Vince Colletta (inks) traveling villain’s case, past emergency!) that’s
gone out of control and threatens destruction on
The Mighty Thor #140 (May 1967) can’t exactly be such a colossal scale that the whole planet
called a key turning point in storytelling style, becomes threatened by his increasing size. The
nor does it offer an exciting new concept on the interesting twist here is that Thor doesn’t defeat
order of Ego or the Negative Zone. But it’s a great either Kang or the Growing Man; Kang subdues
example of the perfection of the grandiose years. him with a dose of “cobalt energy,” re-shrinks the
With all of its elements in place, the grand style Growing Man to doll size and makes his escape
had by now become more of a pervading spirit back to the future in his time machine!
across the whole line-up of
Marvel’s books rather than a Amazing Spider-Man
consciously applied formula. #48
And so, this issue’s story, “The Wings of the Vulture!”; Stan
“The Growing Man,” although Lee (script), John Romita (pen-
obviously a bit of a throw- cils & inks)
Cover: John Romita
back to the company’s earlier (pencils & inks)
years (as Thor takes a
breather between multi-part, The transition from Ditko’s
otherworldly epics with a tenure on Spider-Man to
few standalone stories fighting Romita’s turned out to be
garden variety super-villains smoother than anyone thought.
back on Earth) becomes a After his hesitant start with
celebration of the new dynamic. #s 39 and 40, Romita slipped
And who better to put it easily into his own style with
across than the art team of #41 and then really began to
Kirby and Colletta, who pick up steam with #46. In no
reached the apex of their time, the look and feel of the
collaboration with this issue. book changed from one of
Kirby’s monumental figures almost cloying teenaged
(the shots of the growing neuroticism to the more or
man dwarfing everything less normal stresses and
around him) and Colletta’s Stan Lee and John Romita together strains of growing up. It was
fine-line inking bringing the propelled the Spider-Man strip like the visual equivalent of
art into sharp relief coupled to new heights of popularity, giving Peter Parker new self-
surpassing the FF as Marvel’s most confidence by having his
with Lee’s high-blown dialogue
successful title.
gives the story all the regal acne clear up. Suddenly, his
bearing expected of the features were more regular
grand style. And yet, even with such a rarefied and less angular, he smiled more than he frowned,
tone, the whole thing moves smoothly from panel and for the first time actually had friends. What’s
to panel without an awkward line or misplaced more, he had an attractive girlfriend in Gwen
punctuation mark. By the time a reader finished Stacey (who also happened to be a science
this story, there’d be little question that the major!), an admirer in the vivacious Mary Jane
Growing Man (and the Super Skrull and Replicus in Watson and shared a swanky apartment with
the following issues) belonged in Thor’s pantheon Harry Osborn (son of Norman Osborn, the Green
of outsized antagonists every bit as much as Goblin!). Years of drawing romance books weaned
Pluto, Loki or the evolved Man-Wolf. That went Romita off the use of heavy blacks and shadow
for former Avengers’ bad guy Kang the and so the strip had grown brighter with Spidey’s
Conqueror too, who becomes a formidable battles taking place in wide, open areas like busy
enough enemy in this story to tackle Thor all by traffic intersections, cavernous bank lobbies,
his lonesome. The somewhat nutty Growing Man rooftops and zoological gardens instead of dank

he escapes the prison in a snowstorm, finds the

costume and makes his getaway. Meanwhile,
Peter Parker has caught the flu and can hardly
stand, but when he hears of the new Vulture’s
crime spree, feels obligated to tackle him.
Catching up with him atop a snowy George
Washington Bridge, he finds that the flu has
sapped his energy and winds up unconscious and
left for dead by the Vulture. Romita’s big panels
show off to full advantage the visual possibilities
of a character with wings as the Vulture swoops
and dives against a distant background of bright,
snow-covered rooftops. Equally at home indoors
as he is in the skies over Manhattan, Romita also
manages to follow Peter Parker to his school and
apartment as New York digs itself out of several
inches of snow.

“From The Depths of Defeat!”; Stan Lee (script), John
Romita (pencils), Mike Esposito
[uncredited] (inks)
Cover: John Romita (pencils & inks)
The blurb on the cover read “You name it…
this one’s got it!”, and doggone it if it wasn’t true!
The conclusion of the three-part (sort of!)
Kraven/Vulture storyline (begun in #47),
Amazing Spider-Man #49 (June 1967) was the
epitome of what Lee and Romita were doing to
make Spider-Man the top selling book at Marvel.
It starts with a cover that hits the reader right
The Spider-Man character broke out onto the between the eyes with a simple but action-packed
pop-culture scene in a big way in 1967 when layout by Romita; colorful and full of movement,
he starred in his own Saturday morning it couldn’t help but grab the attention of anyone
cartoon show. “Spider-Man, Spider-Man, does casually browsing the magazine racks. Inside,
whatever a spider can!”
Kraven the Hunter is in a rage because the
Vulture is stealing his thunder and vows to pin
cellars, darkened warehouses or back alleys. And his feathers back. Meanwhile, convinced her
taking a tip from Kirby, Romita began to vary the nephew is running a fever, Aunt May insists that
size of his panels frequently using large, quarter- Peter stay in bed while she calls the doctor.
page panels for Spidey’s battle scenes, which Across town, Kraven catches up with the Vulture
included large, full-size figures swinging, jumping and forces him into the city’s Exhibition Hall.
and leaping at one another. In short, Romita (and Hearing the news, Peter can’t keep himself away:
Lee) broke the book wide open and made it if he timed it right, he could bag both bad guys at
more accessible to a contemporary readership. once! But tackling two desperate killers was easy
Amazing Spider-Man #48 (May 1967) is the perfect next to sneaking out of his apartment without his
example of that. Opening in the medical ward of aunt finding out! But he manages it, spending the
Municipal Prison, the reader witnesses what next seven pages in Romita-style action before
seems to be the last moments of the Vulture as he polishing off Kraven and the Vulture in time to
lies dying in an infirmary bed. Thinking the end get back home and into bed just as Dr. Bromwell
has come, he tells cellmate Blackie Drago where shows up! But as good as Romita’s art was on this
to find his costume on condition that he promises book, it was Lee’s scripting that gave it its heart
to kill Spider-Man. Blackie promises, but has no and soul. Even in the years before the debut of FF #1,
intention of going after Spidey. Later that night, Lee was writing almost every book the company

published. His performance was Lee’s scripting acted as an antidote to the heavy angst that had
professional but workmanlike with pervaded the strip in the Ditko years (where even if Peter managed
rarely a flash of real inspiration. to solve all his problems, anxiety still remained, preventing true
But when he began his new line happiness). Now, his problems were of a different kind; instead of
of super-heroes, the approach being excluded and alienated, Peter worried mostly about relationships.
he took for them seemed to But relationships could be mended and happiness finally, became
ignite his interest. His writing at least possible. In a word, Lee made Peter Parker accessible to
was no more prolific than it was a wider range of readers. Where Ditko may have preferred to
before, but now he seemed to keep Peter in the hothouse atmosphere created by high school peer
take an extra joy in his work. pressure, Lee broadened his appeal by allowing him to grow into
Quickly, the style of his writing young adulthood.
improved, became increasingly
more sophisticated and versatile.
By the time of the grandiose
years, he was writing in a number
of different voices, clearly adapting
his style to suit individual books.
The style he used for Thor was
vastly different from the one he
used for the FF, which was different
from his scripting on Daredevil.
It was no less so for Spider-Man
where he fell into a kind of
breezy, hip, with-it patois of his
own invention (sort of a cross
between 1940s colloquialisms
and 1960s counter-cultural jargon)
that somehow not only felt just
right for the strip, but resonated
with his youthful readers. The
natural ease with which Lee
placed words in the mouths of
his now-generation characters
(“Gwen! M.J.! Wow…I feel like I
won a raffle!” exclaims Harry as the
two girls walk into his apartment.
“You know it, son! We were
passing by and thought Petey-o
could use some cheering up!”
replies Mary Jane. “You know
our motto: chase the blues
away…with Gwen and M.J.!”
“When Peter wakes up and sees
what he missed, he’ll kill himself!”
“Well, if Pete is napping, we’d

better fold our tents and vanish
into the night!” “You think I’d
let you slip away that easy?
Don’t make a move pussycat!
He can’t sleep forever!”) was in
sharp contrast to painful
attempts by the competition to Chasing the blues away. Sketch by John Romita. Gwen Stacy
along with Mary Jane became Marvel’s version of the eternal
do the same. The atmosphere of
question: Betty or Veronica?
up-to-date fun that followed

Amazing Spider-Man #50 relationships with family and friends. Like most
“Spider-Man No More!”; Stan Lee (script), young people, he learned not to rely on his peers’
John Romita (pencils), Mike Esposito estimation of what was right and wrong, what was
[as Mickey Demeo] (inks) in and what was out, but on his own. It didn’t
Cover: John Romita (pencils), Mike Esposito (inks) matter what others thought of Spider-Man’s
Like the story in #18 where Peter determines to give impulses, only that he understood them. Now, at
up his costumed identity, the story in Amazing last, Peter Parker had become his own man.
Spider-Man #50 (July 1967) serves as a clear transition
from one phase of our hero’s life to another. But Amazing Spider-Man #51
where the first story seemed to divide Peter’s earlier, “In The Clutches of...The Kingpin!”; Stan Lee (script),
more gawky career with a later, more self-assured John Romita (pencils), Mike Esposito
[as Mickey Demeo] (inks)
one, this new story marks a break between the
Ditko/teenaged years to the young adulthood Lee
was determined to move the character into. Here, After months of holding the spotlight on colorful,
Lee makes explicit what had only been implicit in costumed villains, Amazing Spider-Man #51 (Aug. 1967)
his first year’s collaboration with Romita. “I was just turned it back on organized crime, an element that in
a young, unthinking teenager—when I first became the Ditko years, had always played a prominent role
Spider-Man,” thinks Peter as he walks along empty, in the book’s plots. Sure, characters like the Molten
night-darkened, rain-slicked streets in a moody two- Man, the Green Goblin and Electro were fun, but it
page sequence by Romita. “But, the years have a had always been the various gangs of hoodlums that
way of slipping by—of changing the world about us. festered in New York’s underworld that could be
And, every boy—sooner or later—must put away relied upon for page after page of exciting, acrobatic
his toys—and become—a man!” But Peter’s reasons for action as Spidey joked his way through the fights. And
quitting the super-hero life are false rationalizations behind the rank and file there was always the boss
borne of doubts implanted in his mind by the relentless who ended up matching wits with our hero, whether
journalistic attacks against his alter ego by J. Jonah it was the Big Man, the Crime Master or Lucky Lobo.
Jameson. The truth, however, has only been pushed The one thing they all had in common, though, was
temporarily into his sub-conscious. The lesson he the look and feel of the gangster style as exemplified
learned when he first became Spider-Man (with in Hollywood movies of the 1930s and ’40s. With this
great power, there also comes great responsibility) issue, though, Spidey’s gangsters were brought up to
is still there, waiting to remind him of his duty. But date (well almost! “This is insane! Nobody gets taken
first, he has to grow into a new realization of it. for rides any more—except on the Untouchables!”
And so, the first few days after his decision seem
to be carefree but he soon begins to find that
friends and family members have lives of their own,
that the satisfaction of even academic success ring
hollow without a purpose larger than personal
aggrandizement. “So I gave up being Spider-Man
to have more time for my family—and my
friends—only to find—they don’t need me!” It
takes a minor incident requiring his intervention to
prevent a night watchman from being killed to see
how he’d been fooling himself. “Now at last—it’s
all crystal clear to me once more! I can never
renounce my Spider-Man identity…No matter how
unbearable the burden may be—no matter how
great my personal sacrifice—I can never permit one
innocent being to come to harm—because Spider-
Man failed to act.” Peter had made all the outward
moves of growing maturity including learning to
socialize and moving into his own apartment, but Oversize actor Sydney Greenstreet (seen here
inside he’d failed to keep up psychologically. At in a scene from the film Casablanca with
Humphrey Bogart) was John Romita’s
last he’d come to terms with his super-heroic inspiration for the Kingpin.
identity, accepting it as a part of his life as real as his

whines J. Jonah Jameson after marked a final, symbolic end to Lee and Ditko’s former collaborative
being kidnapped by the mob) and tenure on the book. Introduced in #10, Foswell entered the title’s cast of
in the Kingpin, they had their most characters as the Big Man, a kind of early version of the Kingpin.
formidable mastermind! Romita Defeated by Spider-Man, he was eventually released from prison and
has said that he based the hired by Jameson as a journalist. Assuming the identity of Patch the
Kingpin’s look on actor Sidney stoolie, Foswell used his familiarity with the city’s underworld to dig up
Greenstreet (the “fat man” in The stories for the Daily Bugle, and became its star reporter. But despite
Maltese Falcon [1941]) and his Spider-Man’s suspicions, Foswell always kept his nose clean. That lasted
combination of strength and savvy until #51 when jealousy of the Kingpin prompted him to come out into
made him a dangerous enemy for
Spidey. Under Ditko, mobsters
would never have
been considered by
anyone as fashion
plates, but Romita
fixed that too,
bulking them up
and clothing them
in tweed overcoats,
scarves, cravats and
fedoras as well as
well coiffed hair
cuts! The Kingpin
himself was known publicly as a
successful businessman, occupying
a well appointed penthouse office
suite that included a marble-
topped desk but secretly lusted
after the untaxed billions only dirty
money could bring. And so,
beginning in #50, he begins his bid
for taking over all of New York
City’s mobs. He unleashes a crime
wave, which Spidey at first ignores
(due to Peter’s having quit his
costumed identity) then jumps into
with both feet. But through twists
and turns (Jameson is kidnapped
in retaliation for his exposés on the
crime wave and former gangster
Frederick Foswell boldly challenges
the Kingpin’s delusions of
grandeur), Spidey ends up defeated
and captured by the Kingpin!

“To Die A Hero!”; Stan Lee (script),
John Romita (pencils), Mike
Esposito [as Mickey Demeo] (inks)
One of the last questions left over
from the strip’s early years, the fate
Amazing Spider-Man #51, page 14. JJJ gets taken for a ride
of Frederick Foswell in Amazing
and bad guys still wear hats!
Spider-Man #52 (Sept. 1967),

the open and challenge the crime Daredevil #29

boss for leadership of the “Unmasked”; Stan Lee (script), Gene Colan (pencils),
underworld. But the Kingpin John Tartaglione (inks)
proved too smart for him, forcing Cover: Gene Colan (pencils), Frank Giacoia (inks)
Foswell to compromise his position Gangsters were also on the menu over in Daredevil #29 (June 1967).
with Jameson so that there’d be no The difference here being that the mob involved is an interesting mix
turning back. In the meantime, the of ordinary hoodlums (led by the Boss, obviously a guy with little
Kingpin’s plan to kill Spider-Man imagination!) and the costumed henchmen of the Masked Marauder
and Jameson this issue falls (who were at loose ends with the literal “disappearance” of their
through and just as the crime boss leader in #27!) Although the ground level DD strip wasn’t exactly suited
is about to try the same with
Foswell, he’s interrupted by our
escaped hero. Realizing at last that
he was way over his head (“Cold
blooded murder just isn’t my
style,” Foswell tells the
murderous Kingpin),
Foswell grabs a gun
and goes looking
for Jameson. He
finds him in the
basement being
chased by a couple
of the Kingpin’s
men. Shoving
Jameson to safety,
Foswell tells him,
“You’re the only one
who ever helped me—or gave me a
second chance! I didn’t want you to
be hurt!” But the odds catch up
with Foswell when he takes a
bullet meant for Jameson.
“Jameson had gambled right—for
once!” muses Spider-Man, who
arrived on the scene too late. “He
gave an ex-con a job—a second
chance. And when the chips were
down, Foswell repaid the debt—
the only way he could—with his
life!” thinks Spidey. “I don’t know
how—or why—he got involved
with the Kingpin,” says Jameson.
“But, there’s one thing I do know.
When Fred Foswell breathed his
last—he died a hero!” If Foswell’s
death marked the symbolic end

of Ditko’s presence on the Spider-
Man book, it couldn’t have been
done in a more poignant, better
written and drawn story than this
one, a story that at the same time
proved to be one of the high points Daredevil #29, page 7. DD meets his maker—so to speak!
of the grandiose years.

for such concepts as Galactus and Ego, it too Daredevil #30

nevertheless became infused with the spirit of the “If There Should Be a Thunder God”; Stan Lee (script),
grand style. By now, Lee and Colan had fallen into a Gene Colan (pencils), John Tartaglione (inks)
creative groove on the strip where they could do no Cover: Gene Colan (pencils), John Tartaglione (inks)
wrong (well, okay, there was the inexplicable matter Deciding to pit long time Thor villains Cobra and
of Matt turning out to be wearing his blind man’s Mr. Hyde against the non-super-powered DD
shades beneath his DD mask on the cover!) Stories was a good idea, but throwing in the twist of
flowed as easily as water rushing downhill, carrying having Daredevil tackle the two of them without
the reader along with breathless ease. Colan’s layout’s the help of his super-senses was inspiration! It all
especially became looser, with big, bold panels begins simply enough in Daredevil #30 (July 1967)
taking most of the space on a page, but in odd with an old-fashioned crossover as DD, suspecting
shapes that left bits of room for close-ups on such that the Cobra and Mr. Hyde were the culprits in
things as people’s faces or hands grasping doorknobs. a recent robbery, dresses himself up as Thor (and
Lee meanwhile, made juggling the increasingly in the process multiplying the number of identities
complicated relationships between Matt, Karen, he has to keep straight to four: Matt Murdock,
Foggy and Matt’s imaginary brother “Mike” seem Daredevil, Mike Murdock and the thunder god!)
effortless. This issue for instance, opens with Matt in order to lure them from hiding. Instead, he
Murdock making the momentous decision to ask attracts the attention of the real thunder god
Karen to marry him. His problem? “Do I propose to who’s understandably upset that someone has
her as Matt Murdock—or as my own ‘twin brother,’ been swinging around town impersonating him
Mike?” Nervous about his decision, Matt retires to and spouting Lee’s hip dialogue: “Forsooth!
his private gym for a little workout where, in a full- Have ye no word of greeting for the mighty
page scene, the reader is treated to a patented Colan Thor?” “What—should we—say?” “Say it isn’t
“strobe” effect; a visual device the artist developed so, pussycat!” But after explaining to Thor that
to denote speed and movement that was much his intentions were entirely honorable, he gets
superior to the more traditional method of using jumped by the Cobra and Hyde. After a brief
“speed lines.” Meanwhile, the Masked Marauder’s mix-up, DD follows them to their hideout. There,
men are making their move to avenge the defeat of Hyde douses him with a chemical that’s supposed
their leader. Unfortunately, on their way to the to render him sightless but since Daredevil is
offices of Nelson and Murdock (whom they still already blind, it strips him of all his heightened
believe hold a connection to DD), they’re intercepted senses instead!
by the Boss and forced to join his
gang. Kidnapping Karen, they hole Daredevil #31
up in a lonely house on the outskirts “Blind Man’s Bluff”; Stan Lee (script),
of town (located on “Midnight Road” Gene Colan (pencils),
of course!) and hunker down to await John Tartaglione (inks)
DD’s inevitable rescue attempt. The Cover: Gene Colan (pencils),
high-powered action finale by Colan Frank Giacoia (inks)
was some of the best work he ever Okay, let’s see if we can’t get this
did up to that time, but as good as straight: Daredevil received his powers
this single-issue story was, it was as the result of a freak accident when
only a pause before the clever three- he was a teenager. The accident
parter that began the next issue. Fun blinded him but left his remaining four
fact: Lee makes a cameo appearance senses heightened to super-sensitivity.
early in this story when DD apparently In addition, he also found himself in
finds himself climbing 625 Madison possession of a kind of natural
Avenue! “Daredevil! Man, what a “radar” that allowed him to sense
surprise this is! You’re the last fella I objects around him, in effect, granting
expected to see!” exclaims Lee. “Can’t Inker John him 360-degree vision. While no sub-
stop now, Stan—I’m in a hurry!” Tartaglione did good
stitute for real sight, the combination
work over Colan,
“But, wait! If ol’ Gene finds out he balancing the of these powers allowed him to
missed you—” “He’ll get over it! See penciler’s shadows move about with far more assurance
you around, tiger!” “Okay, hang with added details. than any sighted person.
loose, hero!” Consequently, even though he acted

Marvelmania
An attempt to create another club like the MMMS,

Marvel made the mistake of contracting out
operations for Marvelmania, which soon crashed and
burned. It did come out with some really nice, even
iconic posters though!
the part of a blind man, Matt Murdock never really Daredevil #32
learned how to cope with actual sightlessness. “To Fight the Impossible Fight”; Stan Lee (script), Gene
But now, as a result of being struck by Mr. Hyde’s Colan (pencils), John Tartaglione (inks)
chemical, he had to learn fast! (Hyde had been Cover: Gene Colan (pencils), John Tartaglione (inks)
unaware that DD was already blind and so his In the slam-bang finish of the Cobra/Hyde plotline,
formula, which was supposed to rob him of his Lee and Colan wrap everything up in one of the most
sight, instead reduced all of his other senses to thrilling, action-packed and unlikely stories they ever
normalcy!) That’s where matters stood for our came up with! In the two previous issues, they’d
hero in the opening pages of the appropriately gotten our hero into one of the most impossible
titled “Blind Man’s Bluff” in Daredevil #31 (Aug. situations any super-hero ever found himself in: a
1967). The interesting thing was, that instead of blind man versus two super-powered bad guys who’d
action, the excitement this issue is derived given even Thor a run for his money! That was the
entirely from DD’s efforts not only to cope with easy part, now they had to find a way to get him out of
true blindness, but to do it in such a way that it! But pull it off they do in Daredevil #32 (Sept. 1967).
none of his enemies realize his helplessness! Picking up where the Cobra had captured DD the issue
Unfortunately, Hyde and the Cobra hardly give before, our hero is taken to a deserted lighthouse
him a chance to breathe, forcing him to come where Mr. Hyde has set-up a typical mad scientist’s
into the open in a desperate attempt to convince laboratory. The two villains plan to kill him there, but
them that he can still see. He succeeds, but only when they begin to quarrel between themselves, DD
temporarily! takes the opportunity to slip into the generator room
and turn out the lights. Still blind, but more at home in
the darkness than Cobra or Hyde, Daredevil manages
to hold his own against them until Hyde panics and
reveals that there’s an antidote to his blindness potion!
Of course, DD eventually gets ahold of it, but not
before the reader is treated to fight scenes filled with
clever and inventive details that make such an unequal
match-up almost believable! The whole three-part
story was a tour de force that made it plain to readers
that it wasn’t safe to assume that some of Marvel’s
books could be left unbought! The magic of the grand
style was everywhere in those days (okay, it was iffy
with the “Hulk,” “Dr. Strange” and “SHIELD” strips) and
everywhere it brought the level of the company’s
storytelling to new heights of wonder and delight.
Fantastic Four #64

“The Sentry Sinister”; Stan Lee (script),
Deep into the grandiose years, the ideas just kept on
coming! Following the epic Dr. Doom/Silver Surfer
and Negative Zone stories, Lee and Kirby didn’t give
their readers a chance to catch their collective breaths as
they plunged them into their next cosmic saga.
Recasting an old science fiction idea into a colorful Reality lagged considerably behind events in the
super-hero story in Fantastic Four #64 (July 1967), the two Marvel universe where the FF had already
men introduce readers to the Kree, aliens possessing walked the surface of half a dozen alien
a vast, galactic empire and to whom the Earth is worlds before Neil Armstrong ever set foot on
the moon!
nothing more than an inconsequential backwater. So
unimportant is it that no Kree has even visited the
planet for tens of thousands of years. However, as is Fantastic Four #65
their custom, they left behind a robotic Sentry to guard “From Beyond This Planet Earth”; Stan Lee (script),
their deserted outpost against intrusion. Thematically, Jack Kirby (pencils), Joe Sinnott (inks)
the function of the Kree, like Galactus, was to underline
the insignificant place man held in the scheme of the If the FF thought their adventure with the Sentry
universe, and like that earlier story, Lee would use them marked the end of their involvement with the Kree,
to prove the worth of the human race—that qualities they were sorely disappointed. Fantastic Four #65
like love, courage and honor trump any technologically (Aug. 1967) opens with all four of them experiencing
advanced but morally decadent society. It was a the same kind of dream: a creature calling itself the
message that struck a sympathetic chord with the “Supreme Intelligence of the majestic race of the
young people reading Marvel comics as they began to Kree” accuses them of destroying private property
question the values of their own society which, while (the Sentry) and vows to pass judgment on them. In
reaching for the Moon, could still be wracked with no time, a “public accuser” named Ronan is winging
problems of race, pollution and war. When he arrives his way across the star lanes to carry out the sentence
on Earth in the following issue, Ronan makes this point ordained by the Supreme Intelligence, the nature of
clear: “Their sociological structure is still economically which couldn’t come as any surprise to long time
oriented—and their scientific advances have far readers! Meanwhile, the FF are finally getting in some
outdistanced their moral and spiritual concepts! R&R as Johnny takes Crystal for a ride in his new hot
Though learning to master their physical world, they rod and Reed and Sue do the town (not to mention
are still sorely beset by greed, hatred, fear and other blind Alicia Masters, the Thing’s girlfriend, being
viruses of the spirit!” In any case, the FF’s problems taken away by a mysterious stranger). Obviously not a
with the Kree don’t end this issue with their defeat guy to worry over the social niceties, Ronan transports
of the Sentry, they only continue into the next! the team members from whatever they were doing

Herb Trimpe
The man whose name would become synomous with the
Hulk began work at Marvel as an ordinary photostat machine
operator and production assistant. Educated at the School of
Visual Arts, Trimpe worked in the comics field briefly at Dell
before joining the Air Force and serving in Vietnam for a year. When
he left the service in 1966, former classmate John Verpoorten told him
about the production job at Marvel and a legend was born!
into his “cone of impenetrability” for quick trial and hinted at in earlier issues. In “The Scourge of the
execution (“I must insist upon silence during the Super Skrull,” readers were presented with the results
period of accusation!”). Of course, the FF aren’t going of this new kind of pencil/ink/script collaboration
to sit still for any kind of kangaroo court and attack undiluted (if that’s the appropriate term!) by a
their accuser, but through use of his “universal world-threatening menace, issues of social relevance
weapon,” Ronan proves a dangerous match for all or even high-flown commentary on the state of
of them. However, stop him they do, but in doing mankind. What they had here was an old-fashioned
so, alert the Kree that the Earth poses a new and super-hero/super-villain slugfest taken to an
formidable challenge to their galactic supremacy! extreme of action, destruction and grandeur that
had become the norm for the grandiose years. It
The Mighty Thor #142 begins “almost beyond the reach of human imagination
“The Scourge of the Super Skrull”; Stan Lee (script), itself” where Thor’s evil brother Loki has been
Jack Kirby (pencils), Vince Colletta (inks) exiled to a “lonely, endless space-time continuum.”
“We, Who Are About to Die...!”; Stan Lee (script), From there, he determines to strike at his brother by
Cover: Jack Kirby (pencils), Vince Colletta (inks) placing in the mind of the Super-Skrull (who also
happens to be in exile) the idea of regaining favor in
The Mighty Thor #142 (July 1967) is another perfect the eyes of his angry masters by attacking and
example of how the grand style had by this point defeating Thor. Possessed of all the powers of his old
completely reinterpreted the manner in which even enemies, the Fantastic Four, the Skrull wastes little
the simplest stories at Marvel were being presented. time in destroying public property in order to lure
Remember how in the early years and the years of the thunder god into the open. What follows is
consolidation Thor spent almost all of his time on bludgeoning battle action that nobody could deliver
Earth battling such relatively mundane super-villains quite like Kirby as buildings are ripped from their
as the Grey Gargoyle, the Absorbing Man and the foundations and ribbons of “anti-force” lash the city.
Cobra and Mr. Hyde? Recall also how those stories Enhancing Kirby’s powerful figure drawing is
were drawn? Kirby’s figures were usually of such Colletta’s fine-line detailing of every muscle and
size as to fit comfortably in a five- or six-panel per crumbling brick and the application of a cross-
page layout structure and inkers such as Chic Stone hatching technique that allowed him a wider, more
kept everything simple and easy to follow. But with creative use of shading than any spotting of simple
the rise of the grandiose years, Kirby’s layouts blacks could’ve given. But this issue’s return to
expanded, frequently using full- and sometimes simpler times was only a breather before the strip
double-page spreads, and inkers such as Joe Sinnott, fell back onto the type of gargantuan menaces readers
Vince Colletta and later Syd Shores, all artists in had come to expect from Thor in the grandiose years:
their own right, were ideal collaborators whose menaces such as the deadly Enchanters, beings as
skills played into what Kirby was doing. In addition, powerful as Odin himself and for whom Balder and
and for the Thor strip especially, Lee’s scripting had Thor’s girlfriend the Lady Sif go looking for in the
since assumed a quasi-archaic eloquence never even mysterious reaches of Ringsfjord!

Marvel Book D:Marvel Book 8/20/09 11:08 PM Page 171
The Mighty Thor #143 characterization or social commentary) too much freedom in plotting their
“And Soon Shall Come the books. Or maybe it was as simple as Lee becoming more interested in his
Enchanters”; Stan Lee (script), Jack public relations pursuits outside the Marvel offices. Whatever the reason,
Kirby (pencils), Bill Everett (inks) when this issue hit the stands in early 1967, the great days of the grandiose
“To The Death”; Stan Lee (script), years were already numbered. Which is not to say that Lee and Kirby still
Jack Kirby (pencils),
Bill Everett (inks) didn’t have what it took to tell stories on a grand scale! Just check out “And
By the time of The Mighty Thor #143
(Aug. 1967), the upward momentum
of Silver Age Marvel’s development
had already peaked with the
Galactus and Ego stories. It was
followed by a period
in which the high
standards set in the
early part of the
grandiose years
was maintained
across most of the
company’s titles. But
eventually all good
things come to an
end. After the
Enchanters storyline
here and the concurrent Beehive
plot in the Fantastic Four, the
Lee/Kirby creative team at last
began to show signs of tatter. In
particular, plot lines became thinner
and unnecessarily stretched out
and story ideas didn’t seem as
revolutionary as they used to. To
many readers, the sensation of
being part of something fresh and
exciting at the dawn of Marvel’s
Silver Age began to wear thin.
Despite some fallow periods, other
titles (with their different mixes of
creative teams) like Spider-Man,
Daredevil and the Avengers would
continue to offer what readers had © 2007 Marvel Characters, Inc.
come to expect from the Marvel style,

but the Lee/Kirby collaborations
seemed to be running out of steam.
Maybe it was because each man’s
contributions to the partnership
were so equal that neither could
The Mighty Thor #143, page 10. Thor’s last hurrah. Kirby and
move their books too strongly in
Everett turn in a masterpiece of the grandiose years with this
any one direction. Maybe it was first chapter of the Enchanters storyline. It would be followed
because Lee had allowed Kirby by a slow but steady decline in story quality through the
(whose inclinations leaned more Mangog saga as single-issue stories failed to recapture the epic
toward power fantasies than scope of earlier tales.

Soon Shall Come: The Enchanters,” which begins deep The Mighty Thor #144
in the land of Ringsfjord as Balder and Sif ride in search “This Battleground Earth”; Stan Lee (script),
of the Enchanters, three brothers, Forsung, Magnir and Jack Kirby (pencils), Vince Colletta (inks)
Brona—beings who derived their power from the “The Beginning of the End”; Stan Lee (script),
“living talisman” displayed upon their chests. Finding Jack Kirby (pencils), Vince Colletta (inks)
them, they prove too much for the two Asgardians to
handle and the two escape to Earth in the nick of time. Things were back to normal in The Mighty Thor #144
Meanwhile, the Enchanters split up: Brona and Magnir (Sept. 1967) as Colletta returned to the inking chores
follow Balder and Sif to Earth while Forsung goes to just in time for some of Kirby’s most awesome imagery.
challenge Odin himself in single combat. Taking over Admittedly, its since been shown that Colletta cut
on the inking chores this issue is Bill Everett whose corners significantly this issue (and in others) in his
coarser, more literal interpretation of Kirby’s pencils, work covering Kirby’s pencils. There can be no doubt
while satisfactory in preserving the spirit of the that by doing so, he reduced the impact of the art and
images, nevertheless fell short of Colletta’s softer, abused the trust of the artist who might expect that
more appropriate fine line meticulousness. Fun fact: his work would be respected. Yes, comic books are a
This issue opens with the classic malt shop sequence
where Thor runs into a band of curious teenagers
while slaking his thirst with an ice cream soda. “You The Mighty Thor #144, page 6. As can be seen
can’t cut out without givin’ us the lowdown on your in this comparison, inker Vince Colletta
pad in Asgard,” one of the kids pleads. Pleased at their provided ample reason for some fans to resent
his work over Kirby’s pencils. Backgrounds
interest, Thor complies, and gives them (and no doubt
have been eliminated in panel 1 with an
new readers, too!) a description of the home of the oversimplification of Kirby’s carefully
gods that only Kirby’s mighty pen could translate in articulated skyscrapers in panel 3.
visual terms!

Roy Thomas
When he was just a fan in America’s Midwest, the man who was
destined to fill the larger-than-life shoes of editor Stan Lee actually
wanted to work for DC with its stable of classic characters rather than
Marvel who could only boast a handful of newly minted super-heroes.
Born in 1940, Roy Thomas grew up reading comics and eventually began
writing and drawing his own. Graduating college in 1961, he began teaching
school, but more and more of his time was taken up with comics fandom, which in
turn put him in touch with editors at DC. He had written a script for Jimmy Olsen
when DC editor Mort Weisinger tapped him in 1965 as his assistant, but that job
lasted only eight days before Thomas had enough of his overbearing boss and jumped
over to Marvel, first as a staff writer then as editorial assistant. Eventually, he
would rise to editor-in-chief, taking over when Lee was promoted to publisher.
business and work produced at that time by both Avengers #43

writers and artists was not only considered disposable “Color Him the Red Guardian”; Roy Thomas (script),
but almost worthless after the books for which it was John Buscema (pencils), George Roussos [as George
intended had been published. But there could be no Bell] (inks)
excuse (except maybe looming deadlines) for deleting Cover: John Buscema (pencils), George Roussos (inks)
whole figures and backgrounds and oversimplifying Away from Kirby’s influence, Lee almost always
objects the artist had spent a good deal of time rendering. preferred that the emphasis of storytelling be
The only compensation for Colletta doing such things concentrated on characterization rather than the
was his undoubted skill and suitability in being grandiose triumphalism of Thor and the Fantastic Four.
matched up with Kirby on Thor. Take this issue’s battle In strips like Spider-Man, Iron Man and Daredevil it
between the thunder god and two of the Enchanters. A became more interesting to read about the heroes’
few pages of action on a chunk of earth (which the personal lives rather than their latest bouts with super-
Enchanters have levitated high over the city) are villains. Such was the case with the Avengers whose
followed by a beautifully rendered full-page shot of line-up Lee had changed radically early on. The
Thor bearing Magnir to the ground. Colletta’s now substitution of relatively low-powered heroes such as
familiar use of fine line inking accentuates the look of Quicksilver, the Scarlet Witch and Hawkeye for Thor,
Kirby’s original pencils better than any other inker. Iron Man and Giant-Man seemed to force a heavier
Where Everett the issue before (and others since) emphasis on personality and plot instead of action.
would’ve simply blacked in areas of shadow, Colletta’s Furthermore, with no titles of their own, there was the
approach lets in light, making two-dimensional figures additional freedom to mold and shape the characters
seem more weighty and massive than they really are. however the writer wanted. Thus the Avengers feature
Another of Colletta’s strengths is his ability to make such became sort of an insiders’ Marvel comic, heavily
“special effects” as Kirby’s various manifestations of scripted and more tightly plotted than the much
crackling energy seem more intense or more violent. looser style employed by Kirby. That was about where
Good examples of that this issue include the image of the things stood when writer Roy Thomas took over the
living talisman when it appears in Dr. Blake’s office, the scripting chores from Lee with #35. One of the first
figure of Forsung as he’s struck by a bolt from Odin’s fans to break into the comics business as a
scepter and the figures of Thor and Magnir as they glow professional, Thomas stayed very briefly with DC
in the light of “a million suns.” Sadly, Colletta’s penchant before making the jump to Marvel where Lee hired
for cutting corners and presumably saving time seemed him as a full-time writer. Beginning on westerns and
only to grow worse from this point on, giving Kirby’s teen humor books, Thomas soon graduated to the hero
work a feeling of incompleteness it didn’t deserve. titles filling in here and there until finally taking over

permanently on the X-Men, Sub- Avengers #44

Mariner and Sgt. Fury. Gaining “The Valiant Also Die”; Roy Thomas (script),
Lee’s trust, he eventually took over John Buscema (pencils), Vince Colletta (inks)
the much more important Avengers Cover: John Buscema (pencils), Vince Colletta (inks)
title. Taking his cue from the years And more was what they got in Avengers #44 (Sept. 1967) as the rest of
of consolidation and his own the team catches up to Hawkeye and Hercules, who were captured by
fascination with continuity, Thomas
continued to build on the inter-
relationships between the team’s
members begun by Lee and soon
added elements from elsewhere in
the growing Marvel universe:
Hawkeye and the Black Widow
renewed their on again/off again
relationship, Giant-Man (now
known as Goliath) was for a while
trapped at giant size and Hercules
joined the team. Over the years,
Thomas would make the Avengers
the gathering place for almost
every Marvel hero without a home.
In a way, he brought to full, robust
fruition what Lee had been angling
at for years: developing inter-title
continuity to such a degree that it
became as integral to the grand
style as Kirby’s cosmicism or Lee’s
belief in the human
spirit. Such was the
case with Avengers
#43 (Aug. 1967) in
which Thomas
introduces the Red
Guardian, sort of
a dark Captain
America created by
the Soviets. But
there’s a twist: the
Red Guardian is
actually the long-believed-dead
husband of the Black Widow! As
would be expected, complications © 2009 Marvel Characters, Inc.
arise as Thomas dips into past

continuity (this time old “Iron Man”
stories from Tales of Suspense) and
uses previous events as a
springboard to tell new stories. At
the same time, by adding more
details to their back stories, he Avengers #44, page 11. Cap battles his dark opposite courtesy of
enriches the character histories of Roy Thomas, John Buscema, and Vince Colletta in the second part of
Hawkeye and the Black Widow, the Red Guardian saga. In his work on the Avengers, Thomas
making them more interesting to managed to find the balance between Lee and Kirby bringing the
read about and leaving readers cosmicism prevalent in the grandiose years under control and
injecting it with a strain of human interest.
demanding more.

John Buscema
D uring Marvel’s Silver Age of comics when super-
heroes were the order of the day, John Buscema became
a favorite with fans as the dynamic artist of the
Avengers and later the Silver Surfer, Thor, and the FF. But
with an extensive background in classical art training
from the High School of Music and Art, the
Pratt Institute, and the Brooklyn Museum, Buscema’s true
interest lay in more grittily realistic subjects such as Conan
the Barbarian where his early interest in such newspaper
adventure strips as Prince Valiant and Terry and the Pirates
would come to the fore. Born in 1927, Buscema began
drawing when just a child before being sidetracked into
sports. Training as a boxer, he
drew some illustrations of local
fighters that were published, and
the next thing he knew he was
working as a staff artist for Timely
Comics where he drew everything
from soup to nuts. A stint in the
Army was followed by a return to
Timely/Atlas where he worked
until the company downsized in
the mid-1950s. For the balance of
the decade, Buscema worked in
commercial art and kicked around
the comics field, notably for Dell
Comics where he did a plethora of
movie and television adaptations.
Finally, as Marvel Comics began
to pick up steam in the mid-1960s,
editor Stan Lee contacted him to
do fill-in work on the “SHIELD”
and “Hulk” strips before assigning him a permanent berth
with the Avengers. So successful was Buscema at Marvel
that his style would even eclipse that of Jack Kirby as the
look of Marvel, and his book How to Draw Comics the
Marvel Way would become a bestseller.
Love Journal #20 (top left), our publishing

co., 1953.
Wanted Comics #52 (left), toytown, 1953.
Love Diary #36 (inset), quality comics, 1953.

the Soviets in the previous issue. After the shock of Fantastic Four #66
discovering that her husband was not only still “What Lurks Behind the Beehive?”; Stan Lee (script),
alive, but transformed into the Red Guardian, the Jack Kirby (pencils), Joe Sinnott (inks)
Black Widow convinces her former masters that Cover: Jack Kirby (pencils), Joe Sinnott (inks)
she never defected to the Americans but is still Measured in real time, Silver Age Marvel hadn’t
loyal to them. Meanwhile, a broken-hearted been around that long. From FF #1 to this issue of
Hawkeye hopes his teammates don’t become Fantastic Four #66 (Sept. 1967) had only been about
embroiled in a mess of his own making. But of six years, but in that time the company had passed
course, if they didn’t, how could there be any through at least two distinct phases and was in the
action? Making the scene, the Avengers tear up middle of another, and in terms of the development
the secret base as the battle culminates in the not of some of its characters, that time seemed even
unexpected face-off between those two symbols of longer. Take the FF for instance. Since that first crude
East and West, the Red Guardian and Captain issue in which the four teammates were introduced,
America. Stalemated, when the Soviets find out Reed and Sue emerged from early courtship (which
that the Widow lied to them about her loyalties, included complications arising from both Ben and
they try to kill her, but then, with his eyes opened the Sub-Mariner for Sue’s affections), passed
at last to their evil duplicity, the Guardian throws through engagement and marriage and would soon
himself in the path of the bullet meant for his wife announce the imminent arrival of a baby; Johnny
and dies a noble death. The issue concludes with the had evolved from impatient and thoughtless
Widow revealing her relationship with her husband teenager to worried, driven lover to level-headed
and how the Soviets had told her he’d died in a young adult. The only member of the team that hadn’t
rocket experiment. Thomas then leaves the reader changed much was Ben. At first, he always seemed
with what had by now become one of the hallmarks angry; trapped in a grotesque body and needing to
of Marvel, a scene that leaves characters (in this swath himself in concealing clothes in order to keep
case Hawkeye and the Black Widow) changed from from frightening ordinary people, he frequently
what they were before the story began. As readers lashed out in bursts of frustration. Over time, these
had come to expect, nothing stood still in the feelings seemed to subside as he became used to his
inter-related Marvel universe where characters condition and won the affections of blind sculptress
were born, grew, evolved and even died. It was a Alicia Masters. But beneath the apparently calm
sense of chronology and continuity wholly lacking surface, the Thing was still wracked with self-doubt
anywhere else in the comics industry. But the writing which now and then
wasn’t the only thing that recommends this book, exploded in violent fits
there’s the art too and, despite the growing inadequacies of jealousy whenever he
of his approach to inking, it was a testament to felt his relationship with
Colletta’s skill that if he’d only respected the Alicia threatened. But
material he worked on, he could enhance any overall, readers were
artist’s work to the point of undoubted beauty and given the sense that Ben
grace. Matched this issue with artist John Buscema Grimm had come to
(who himself was in a transitory phase between terms with being the
comics art traditionalism and the new, more action- Thing. That illusion was
oriented Marvel style), Colletta’s fine line, detailed shattered in the opening
inking gives the artist’s work a sheen of sophistication pages of “What Lurks
that’s real easy on the eyes. From the first page Behind the Beehive”
(showing a particularly fine job on Hawkeye and (with a plot suspiciously
the Black Widow trapped in the Red Guardian’s similar to “Chrysalis,”
secret lab) to a gorgeous two-page sequence featuring a short story by science
the Guardian’s fight with counterpart Captain fiction writer Ray
America (where Buscema shows off his mastery of Ray Bradbury’s Bradbury) as Ben learns
the human form in no uncertain terms!) to the final short story
of the disappearance of
scenes showing the destruction of the Soviet base, “Chrysalis” may
have been the Alicia and the reader
Colletta showed he still had it. It was a skill that inspiration for the discovers that he’s not as
would often be called upon in the twilight years to plot of Fantastic well adjusted as they
firm up the doubtful work of artists a good deal Four #66-67. were perhaps led to
less gifted than Buscema.

believe. When Reed tries to comfort his friend, he Crystal at the breakfast
strikes out, sending Mr. Fantastic flying across the table in a scene that would
room. “Ben! How could you? Reed is your friend— seem unremarkable on
your oldest—your best—your most devoted the face of it, but which
friend!” says a shocked Sue. “Sure, sure! I know all was actually the kind
about it! But the one thing I don’t need from him— that was instrumental
or from anyone—is pity! I only tapped ’im! He’ll be in creating the all
okay! Wish I could say the same for myself— important sense of family
without Alicia!” “Don’t blame him…,” says Reed that was the underlining
after Ben leaves. “No one can really tell the agony bedrock of the FF strip.
he’s enduring—deep inside!” It was a brutal How many scenes after
reminder that for some of Marvel’s characters, as in all, were shot around
real life, some hurts never go away. Depressed and the breakfast table in
desperate not to lose what might be his only lifeline to countless television
sanity, the Thing finds solace in the simple adoration family sitcoms of the ’50s
of children and the admiration of adults while and ’60s? It wasn’t just
passing through Central Park. Meanwhile, Reed No doubt Lee and coincidence. “You’ll feel
shrugs off Ben’s anger (“Maybe I had it coming!”) Kirby found better as soon as I set
inspiration for
and works toward finding out where Alicia has some of these instant
story material
disappeared to. It turns out that Lee and Kirby have among television wheat cakes in front of
cooked up a clever twist for including Alicia in their series such as this you, Ben…And I
latest plot: a group of renegade scientists seeking to “Him” prototype smothered them in
manipulate the human genome and create a new from the Star Trek butter— just the way you
type of being need someone who’s not only used to episode “Arena”. like them!” “Nuts! I’m
getting around without being able to see, but who too hung-up to think of
also has the talent to recreate in three-dimensional food! Welllll—mebbe I’ll just take a bite—so’s I can
stone or clay what she feels with her hands. For, keep body ’n’ soul together!” Ben says as he lifts a
having created this new form of life, the scientists fork full of about a dozen pancakes to his mouth!
have since lost control of it. Him (as they refer to it) Later, when all is ready for them to make the jump
is now evolving at a pace and in a manner wholly to the sprawling, beehive-like installation of the
unpredicted and has enveloped himself in a renegade scientists, Reed orders Sue to stay behind,
blinding aura of pure power which prevents anyone hinting to readers about the surprise announcement
from laying eyes on him! awaiting them in the upcoming FF Annual: “We
don’t know what dangers await us—and I can’t let
Fantastic Four #67 you face them—not you—not now!” Minutes later,
“When Opens the Cocoon!”; Stan Lee (script), Reed, Ben and Johnny find themselves fighting for
Jack Kirby (pencils), Joe Sinnott (inks) their lives against the Beehive’s private army even
Cover: Jack Kirby (pencils), Joe Sinnott (inks) as Alicia reaches her goal (a giant cocoon!) deep in
Fantastic Four #67 (Oct. 1967) proves that despite the catacombs of Lock 41. But even as she does, her
being on the reverse slope of the grandiose years, guide determines to destroy Him before he can
Lee and Kirby could still tell a story as packed with emerge (“I abandoned everything I had worked
action, pathos and ideas as ever! One of the most for—my reputation—my home—my medical
clever scenes in this issue comes in the first panel practice—because of a mad desire to one day rule
of the second page which shows an incredibly the world—to make other humans my slaves! I
complicated schematic of an electronic wrist band was willing to sacrifice all mankind—so that
that Reed is trying to duplicate. “Enlarged hundreds I…could be supreme! But now, even if it means my
of times,” the large scale diagram, coupled with the death—I must destroy Him!”). But the scientist’s
Thing’s wondering look, expressed more eloquently last-minute crisis of conscience is interrupted as a
than any words could just how smart Reed Richards blast from the cocoon signals the emergence of the
was supposed to be! It even came with little hand- being within. The issue ends abruptly with Alicia’s
written notes reminding Reed to “recheck mini- rescue by the FF and the emergence of Him, now
circuit before testing,” “calibrate all computations to clothed in the body of a golden Adonis whose
nearest decimal” and “enlarge .073%!” In a break departure from Earth causes the total destruction
from the lab work, Reed, Ben and Sue join Johnny and of the Beehive.

Marvel Super-Heroes #12 “Kill Captain America”;

“The Coming of Captain Marvel”; Stan Lee (script), Stan Lee (script), John Romita
Gene Colan (pencils), Frank Giacoia (inks) (pencils & inks); reprinted from
“The Threat of the Jet”; Stan Lee (script), Dick Ayers (pencils & inks) Men’s Adventures #28
reprinted from Men’s Adventures #27 “The Abduction of King Arthur”;
“The Beachhead Blitz”; Don Rico (script, pencils & inks) reprinted from Stan Lee (script), Joe Maneely
All-Winners Comics #12 (pencils & inks); reprinted from
Black Knight #1 (May 1955)
“The Sub-Mariner Strikes”;
Bill Everett (script, pencils & inks);
reprinted from Sub-Mariner Comics
#38 (February 1955)
Cover: Gene Colan (pencils), Frank
Giacoia (inks)
With the advent of Marvel Tales in
1964, the door was opened for other
reprint volumes such as Marvel
Collector’s Item
Classics in 1965 and
Fantasy Master-
pieces in 1966. The
difference between
them was that the
first two simply
reprinted all of the
company’s super-
hero features since
the debut of the
Fantastic Four while
the third reached back to the
company’s early days of the 1940s
for the earliest appearances of such
characters as Captain America and
Sub-Mariner. But despite covers that
sometimes featured newly drawn
figures by Kirby, modern readers,
accustomed to Marvel’s more
sophisticated approach to comics in
the 1960s, were less than
enthusiastic about stories in Fantasy
Masterpieces they perhaps found
unreadable. With sales on the book
not as they could be, Lee repeated a
gimmick he’d used in the early,

formative years on such titles as Tales
of Suspense and Tales to Astonish; he
came up with an entirely new
character and made him the lead
feature in Marvel Super-Heroes #12
(Dec. 1967). Hedging his bets, he
Marvel Super-Heroes #12, page 5. As exciting as they were, also changed the book’s title from
sometimes the use of over-large panels may have simply been a Fantasy Masterpieces to Marvel Super-
way for artists on a tight schedule to save time. That said, Colan’s Heroes and presented the new
art here thrusts readers immediately into the action and shows hero on the cover with the usual
off the Captain’s costume to good effect.
bevy of boastful blurbs. The

company’s first new super-hero feature Tales of Suspense #98

since the debut of Daredevil almost four “The Claws of the Panther!”;
years before, Captain Marvel burst Stan Lee (script), Jack Kirby
full-blown onto the scene in a (pencils), Joe Sinnott (inks)
distinctive green-and-white uniform. “The Warrior and the Whip!”;
Although destined to lose it a few years (pencils), Frank Giacoia (inks)
later (for a more colorful but good deal Cover: Jack Kirby (pencils),
less interesting costume), Captain Frank Giacoia (inks)
Marvel’s outfit really was a uniform;
the uniform of a captain in the Kree After four years and 40 issues, Tales
military. In an intriguing bit of of Suspense was still the best double-
continuity, Lee decided to make his feature value for a reader’s 12 cents
new hero a Kree spy sent to Earth as Marvel had! The “split” book with
a result of setbacks suffered by his the most consistent ratio of good
people over in the FF’s book. stories to great art Suspense, more
Unfortunately, just as he would do in than Strange or Astonish, seemed
the later Silver Surfer book, in an integral to the ongoing evolution of
attempt to make Captain Marvel Marvel’s continuity. That was
more human (and presumably more America’s space program because Iron Man and Captain
interesting), he made him less alien. permeated the culture in America were more central to the
And so, the captain arrives in Earth the 1960s ever since Pres. universe being created than were
John F. Kennedy set the such relatively peripheral characters
orbit aboard a Kree spaceship complete goal of putting a man on
with very human-like conflicts of as Dr. Strange and the Sub-Mariner.
the moon by the end of
interest: Mar-Vell (Captain Marvel, get the decade. With almost After all, how likely was it that
it?) is in love with mission medical constant television Spider-Man would run into the
officer Una, while his rival for her coverage of launchings, Living Tribunal or Daredevil battle
affections, Colonel Yon-Rogg, schemes
space walks, and moon Father Neptune? On the other
missions, it was only hand, what were the odds of
to get him killed on his first visit to the natural that aliens such as
planet’s surface. These very human the Kree would set their
Captain America getting to fight the
emotional relationships undermine sites on places like Cape Black Panther? Real high as it turns
what should’ve been a unique Canaveral. out! Beneath a simple but effective
approach to the new strip, one told cover that was sure to catch the
from the viewpoint of the alien stranger. It was just such attention of any discerning fan, the
an approach that was also part of what made the Silver “Cap” feature in Tales of Suspense #98 (Feb. 1968) begins
Surfer such an initially intriguing character but which in the same way FF #52 did: with the Panther inviting
was likewise softened in the interests of Lee’s desire for an ally to Wakanda without explanation and then
melodrama. Suffice it say that the interpersonal set-ups jumping him when he gets there! It wasn’t a good
in the “Captain Marvel” strip were too artificial to begin idea then, and it still wasn’t a good idea this time (the
with and soon devolved into predictability. The strip Panther tells Cap that he had to make sure he wasn’t
was better off as soon as it had them jettisoned. Tapped an imposter; riiiight!), but at least it provided readers
for the art chores was Gene Colan, whose work here with a few exciting panels of their favorite heroes
seems rushed, but that may have been the fault of inker knocking each other around. Anyway, it all comes out
Frank Giacoia. But then, Giacoia had done great work in the wash after Cap finds out that his old enemy
over Colan before on other strips so it’s hard to blame Zemo is on the loose again. But is it really Zemo? If it
him completely. What it boils down to is that despite a wasn’t, Kirby sure tries his darndest to make the
solid concept, fumbling execution in both story and art reader believe it with some of his cleanest, most
conspired to make it, overall, a lackluster effort. action-packed art yet. But there were signs that
Otherwise, the really important thing about this issue is creatively, Kirby was slowing down (even under the
that it was the first of a series of new super-hero features inks of Joe Sinnott who, despite his cool
that signaled the end of the distribution agreement professionalism, tended to add nothing to what the
Marvel had with DC limiting the number of titles it penciler already had on the page), with much of his
could field. With its shackles loosed, there was nothing figure work being placed in increasingly familiar
to stop Lee from expanding his line as much as he postures. But his style was so powerful, that even if
wanted. But was that a good thing? Only time would tell! layouts were becoming more predictable, a really

good artist with a distinctive inking style could still was only for openers; Shores would reach his zenith
make Kirby as exciting as he ever was. Something over Kirby when Cap received his own book only a
that was to be proven in the very next issue. In the month or so later. In the front half of the book, Iron
other half of the book, Iron Man finds himself Man was still being held by the Maggia aboard their
trapped in the hold of a Maggia (Marvel’s answer to gambling ship, but just as a laser beam is about to cut
the real world Mafia!) gambling ship trying to hold open his armor like a tin can, the ship is struck by
off the evil Whiplash while at minimum power! The agents of AIM! In the meantime, special SHIELD
art was still by Colan and inked by Giacoia (who agent Jasper Sitwell is hot on his trail. Colan has
was doing much better service here than on the expressed a fondness for the film Bullitt (1968) with
“Captain Marvel” feature) and the fast-moving its ground-breaking car chase sequence and never
script was Lee’s last for Iron Man. What with the missed a chance to include one of his own in whatever
continuing success of the company and his strip he drew. And he makes no exception here as
increasing duties as editor, head writer and front Jasper races his SHIELD issue Mustang (or is it a
man, it was inevitable that something in Lee’s busy Corvette?) with its “formula 1 racing engine” at full
schedule had to give. And so, never again would he speed down the interstate. Actually, Jasper was one of
be the kind of driving creative force behind Marvel’s the more interesting supporting characters Marvel
super-hero universe as he’d been during most of the had with Lee having obvious fun writing dialogue for
company’s first three phases. Slowly but surely, the this Boy Scout turned SHIELD agent (“An agent of
machine he created was needing less and less of his Shield is ever discreet—always unobtrusive—silent
attention in order to keep itself moving. and alert!”) But by this issue Lee had abandoned the
scripting chores on the “Iron Man” strip in favor of
Tales of Suspense #99
“At the Mercy of the Maggia”; Archie Goodwin (script),
Gene Colan (pencils), Johnny Craig (inks)
“The Man Who Lived Twice!”; Stan Lee (script), Jack
Kirby (pencils), Syd Shores (inks)
Cover: Gene Colan (pencils), Frank Giacoia (inks)
But never fear, Lee was still on the job for “Captain
America” in Tales of Suspense #99’s (March 1968) “The
Man Who Lived Twice” providing his spare but
always appropriate scripting to a Kirby-choreographed
slam-bang actioner that really did little to advance the
plot beyond filling in readers about Zemo’s latest
mad plan. (The former Nazi scientist, it seems, has
placed a satellite in Earth orbit from which he can
direct a death ray at any spot on the planet!) The big
surprise however, is Kirby’s new inker, Syd Shores!
Suddenly, Kirby’s pencils, which had begun to seem
a bit tired in the last few months, took on added life
beneath this veteran’s experienced brush. Shores
began his career as an artist himself in the 1940s until
reemerging at Marvel as an inker. And like any
artist turned inker, he brought a good deal of his own
distinctive style to whatever penciler was lucky
enough to get his services. In Kirby’s case this issue,
Shores’ scratchy brush work brought a kind of vague
crudeness to his work that was very reminiscent of
the 1940s Cap strip, and unlike some, his use of blacks,
rather than being heavy-handed (which Kirby’s work
seemed to invite), was not only bold but sure, adding
weight and texture to the figures. Particularly fine The ground-breaking car chase sequence from
work this issue included the opening splash page and Bullitt, released in 1968, was a big influence
page four’s quarter-panel layout featuring the on Colan, who managed to include similar scenes
in many of his assignments!
Panther in action against Zemo’s henchmen. But that

Ditko, the creative retreat of Heck, the waning

powers of Kirby and the increasing distractions that
plagued Lee, the stories never lost their heart. The
human factor that Lee had stumbled upon way back
in the early years and that he and Kirby and Ditko
had nurtured through the years of consolidation and
had guided to shining fruition in the grandiose years
was as strong a part of what made Silver Age Marvel
great as ever. And nowhere was that ethos more
obvious than here in Fantastic Four Special #5 (Nov.
1967) which paradoxically held all that was wonderful
about Marvel while at the same time giving evidence
of the company’s coming decline. But to readers
who bought this issue in 1967 it probably wasn’t that
obvious, what with the incredible bargain they were
After Marvel expanded its line in 1968, Archie getting for only 25 cents! Fifty-five pages without “a
Goodwin (left), former editor and head writer single reprint,” it featured a 30-page lead story guest
for Warren Publications, was one of the first starring both the Inhumans and Black Panther, ten
scripters hired by Lee to help out with the pages of pin-ups, a humorous three-page “How Stan and
added workload.
Jack Create the FF” section and a bonus 12-page
Silver Surfer solo story! On the surface, a reader
Archie Goodwin. A former editor for rival Warren couldn’t be faulted for thinking that the most
Publications, Goodwin also wrote many weird and interesting element of the lead story “Divide—and
war stories which made up most of that company’s Conquer” (never mind all of its guest-stars) was the
output. Although he’d provide Marvel with many new villain Psycho Man (who’d prove a good deal
years of off and on service, much of it would be more interesting than he is here when the FF follow
unmemorable. But he started strong here in a good him in future issues into “Sub-Atomica,” one of the
imitation of Lee’s style (“Though the trail is cold, a best and last concepts to be offered by the team of Lee
SHIELD agent’s determination is never daunted!”). and Kirby in the grandiose years). But the best part
With Tales of Suspense coming to an end this issue, of the story, embodying as it did the human heart
Goodwin would follow Iron Man to that character’s that was at the center of what Silver Age Marvel was
own book. But first, Suspense and Astonish (which all about and the (not so) secret of its success, was the
came to an end simultaneously with Suspense) would surprise announcement of the impending birth of
join temporarily in an odd, one-shot special featuring Reed and Sue’s child. How to convey the impact
Iron Man and Sub-Mariner as they marked time such an event must’ve had on readers at the time?
before their turn at debut issues following those of The potentialities and ultimate meaning it had on
Captain America and the Hulk. Ironically, just as the how they’d look at comics from then on? When Reed
grandiose years were giving way to the twilight and Sue were married a couple years before, that was
years, Marvel’s success had become complete. surprising enough (after all, there’d been a few
married heroes before), but taking their relationship
Fantastic Four Special #5 one logical step further was unheard of (there may
“Divide and Conquer”; Stan Lee (script), even have been a question of whether the Comics
Jack Kirby (pencils), Frank Giacoia (inks) Code would allow it!). But the real meaning of super-
“This is a Plot?”; Jack Kirby (script),
Jack Kirby (pencils), Frank Giacoia (inks) heroes marrying and having children was less that of
“The Peerless Power of the Silver Surfer”; making comics history than what it meant about
Stan Lee (script), Jack Kirby (pencils), them living in a world as real as our own. Now it
Frank Giacoia and Joe Sinnott (inks) wasn’t inconceivable that heroes could raise families,
Cover: Jack Kirby (pencils), Frank Giacoia (inks) deal with schools and savings and taxes, grow old
But the grandiose years were always about more than and die and even (gulp!) have sexual relationships!
god-like menaces and mind-blowing new concepts or This was way beyond Peter Parker’s girl problems!
even about wide open art and swell sounding words; But more immediate to the FF themselves, the arrival
it was also about human beings, values and ideals. of a baby would bring them closer together than ever
And even with the departure of important talent like before as a real family unit. They became the first true
extended family in comics with brothers and sisters,

fathers and mothers, uncles and encroaching stiffness. Even worse was the Surfer story, which
nephews, boyfriends and unfortunately, was inked by Giacoia whose style (which once did
girlfriends. Could readers imagine Kirby justice) only accentuated Kirby’s faults (the figure of the
any other heroes gathered around Surfer on the splash page was especially bad). It spelled bad tidings
the Thanksgiving table for instance for admirers of Kirby in general and Marvel readers in particular.
as easily as they could the FF?
Unfortunately, it was an image and
feeling that wouldn’t outlast first
Kirby and then Lee’s stay on the
book and as the title stretched into
the twilight years, that sense of
real family would be diluted and
eventually lost. But Reed and Sue’s
announcement wasn’t the only
story in this issue that underlined
what was best about the grandiose
years. In “The Peerless Power of
the Silver Surfer”,
Lee and Kirby, over
a few succinct pages,
tell a brief but
pointed fable of how
empty life could be
uninformed by love
and compassion.
Already, Lee has
taken the pulse of
the Surfer and
made him a vehicle
for objective commentary on the
many contradictions he finds in
the human race. “Fear—envy—
greed—engulf me in ever-increasing
torrents! And yet—there is kindness,
too—and love—fighting to break
thru…” It was an approach to the
Silver Surfer that Lee would take
with him when he eventually
granted the character his own
book. But if the content of these
two stories captured the spirit
of the grandiose years, Kirby’s © 2009 Marvel Characters, Inc.
artwork left something to be

desired (at least by the standards
he himself had set in earlier years).
Not that it was bad, but that what
had once been exciting because of
the uniqueness of Kirby’s vision,
was now becoming routine and Fantastic Four Special #5, page 13. Love, engagement, marriage,
even repetitive. Although the art family. Lee and Kirby took comics where no comic had ever gone
for the Psycho Man story was still before. In his visual depiction of a super-hero team that is also a
fantastic (inked by the more than family, Kirby harkens back to his days as a romance artist to imbue
proficient Sinnott) it nevertheless his characters with a maturity commensurate with their roles as
parents and adult guardians.
showed unmistakable signs of

Captain America #100 Astonish and Strange Tales) into six solo series. (Other,
“This Monster Unmasked!”; Stan Lee (script), ancillary titles included Not Brand Echh, a parody book
Jack Kirby (pencils), Syd Shores (inks) that poked fun at Marvel’s as well as the competition’s
Cover: Jack Kirby (pencils) Syd Shores (inks), characters and a Sgt. Fury companion magazine called
Joe Sinnott (inks [on Captain America’s face]) Capt. Savage and His Leatherneck Raiders!) But the first of
1968 was a big year for Marvel as the company’s line of the double-feature graduates to leave the gate (to mix
comic books experienced its first expansion since that a metaphor!) was Captain America #100 (April 1968)
day in the fifties when publisher Martin Goodman (which began its numbering where Tales of Suspense
made a bad business decision and wound up being left off) in a story that concluded the Zemo storyline
restricted to only eight books a month (or sixteen from Suspense #99. Although Shores this issue seemed
different bi-monthly titles). But a change of ownership to have some trouble keeping up with the increased
resulted in the improvement of Marvel’s distribution page count, his few slips were far outweighed by the
situation, and for the first time in nearly ten years fantastic job he was doing over Kirby’s pencils. Shores
there was no limit to the number of titles it could would be back in top form over the next few issues,
produce. Touted by Stan as “the second Golden Age of proving once and for all that in these waning years of
Marvel,” the new freedom was quickly taken advantage Kirby’s stay at Marvel, the most valuable commodity
of by dividing the company’s three long-running was an inker who was also an artist. Inkers like
double-feature books (Tales of Suspense, Tales to Shores, Everett, Colletta and to a lesser extent, Sinnott,
were the unsung heroes who, at the close of the
decade, helped keep Kirby’s grandiose vision alive
when the artist himself was beginning to lose interest.
Prince Namor, the Sub-Mariner #1

“Years of Glory, Day of Doom”; Roy Thomas (script),
John Buscema (pencils), Frank Giacoia (inks)
Cover: John Buscema (pencils), Sol Brodsky (inks)
The second book to come out of Marvel’s expansion
was Prince Namor, the Sub-Mariner #1 (May 1968) which
featured the artwork of John Buscema. Having worked
for Lee in the 1950s, Buscema was rehired to help ease
the burden of an overextended Kirby in the mid-’60s.
Starting out by working over Kirby layouts on a few
“SHIELD” and “Hulk” stories, Buscema soon found a
regular berth on the Avengers. Perhaps because he was
held back by the need to work over someone else’s
pencils (Buscema has said that he found working over
Kirby’s layouts too difficult and ended up erasing
them and doing the whole job himself), Buscema’s first
efforts were stiff and halting. But his was a huge talent
that only needed the right circumstances to be
released. He found them in the Marvel style which
emphasized action and in full-length stories that gave

him the elbow room to really spread out. At the time of
this issue, the apex of Buscema’s super-hero work
(after being assigned to the Conan strip in the ’70s, he’d
abandon super-heroes almost completely) was still
some months in the future, but it all began here. Maybe
it was the need to rush out two full books a month that
Not Brand Echh #3. In only a few short years, did it, or maybe it was in looking at the work being
Marvel’s characters had become such a part of done by Kirby, Colan or Romita, but however it
the pop-culture scene that they could be made happened, Buscema’s panels started to get bigger, and
the subject of broad parody in a format that with their increase in size came the need to fill them. As
took advantage of the company’s tongue-in-
cheek attitude.
his stint on the Sub-Mariner series progressed, quarter-
page panels became more common and the figures in

them grew to fill up the enlarged space. Soon, characters stretched full- to replace Kirby on both the FF and
length across the width of a page and contorted themselves in exaggerated Thor. Joining Buscema on this issue
expressions of agony and ecstasy, and by the time he left the Sub-Mariner was Roy Thomas, whose story here
with #8, Buscema’s style had transformed itself into one of the most exciting continued from Tales to Astonish
in comics. So appreciative did Lee become of it that he not only assigned #101 (with a sidetrack to the
him to such pet projects as the Silver Surfer, but also ended up tapping him following Iron Man/Sub-Mariner
one-shot). Unfortunately, for the
first issue of a new series, things
start off somewhat slowly, with
the tale of the man called Destiny
being not very interesting. (And
spending most of the issue
retelling the Sub-Mariner’s origin,
although perhaps necessary, didn’t
help). But once that plotline was
finished, things sped up nicely
with the return of Attuma, the
introduction of Tiger Shark and
the quest for the Serpent Crown!
The Invincible Iron Man #1

“Alone Against AIM”; Archie
Goodwin (script), Gene Colan
(pencils), Johnny Craig (inks)
“The Origin of Iron Man”; Archie
Goodwin (script), Gene Colan
(pencils), Johnny Craig (inks)
Cover: Gene Colan (pencils),
Meanwhile, in what should’ve
been a matter of celebration (what
with the strip’s unbroken history
of great script and art by Lee,
Heck and Colan),
The Invincible Iron
Man #1 (May 1968)
turned out to be a
false dawn. Beyond
this satisfying first
issue, the title was
destined to plunge
into a mediocrity
from which it
would never recover.

Begun grandiosely
by Colan (who stayed only long
enough to finish up Iron Man’s
battle with the Maggia begun in the
final issues of Tales of Suspense), the
art chores were immediately
Invincible Iron Man #1, page 12. Frank Zappa may have zapped as handed over to veteran artist
Eric Burden claimed, but here it’s definitely Gene Colan doing the George Tuska whose unexciting
zapping as he helps to launch the golden avenger into his own pencils (the unfortunate habit of
series. Too bad the artist couldn’t have stayed on a while longer!
often giving his characters an

overbite didn’t help!) would fill the book for the next so exciting when that power was unleashed! But such
several years. But the problem was bigger than an over-the-top, baroque interpretation of the star-
Tuska’s work on Iron Man. The real trouble was that in spangled Avenger needed an equally worthy adversary,
expanding his line so quickly, Lee hadn’t been able to and in such a case only the Red Skull would do! And
familiarize new artists brought in to cover the added sensing true evil’s seductive power, Lee knew with just
work with what was expected of them. In the past, which words its most fearsome embodiment would
Kirby had been available to do rough layouts of attempt to weaken Cap’s resolve: “Men were all born to
various strips for new hires like Romita and Buscema be slaves! They’re not worth your idiotic concern! Why
to work over until they got the feel for the Marvel should you care for them when they don’t even care for
brand of dynamic storytelling. But now Kirby wasn’t each other! Look around you! The world is consumed
doing that anymore and artists like Tuska, Trimpe by greed, crime, and bigotry! Men are no more than
and Grainger were taking over full-length, monthly animals…” But Cap resists the Skull’s twisted logic:
features without an apprenticeship. Consequently, “Tyrants have always scorned their fellow humans!
half of the new releases (Iron Man, Hulk, SHIELD and But still the race endures—while the despots fall! And,
Sub-Mariner), although strong enough in sales it’s true, those who would grind us underfoot—can never hope
nevertheless became creative disappointments. The to keep us from reaching our eventual destiny!” But the
problem would be somewhat ameliorated after Lee Skull isn’t finished yet: “Can’t you see?” he screams in
made Romita art director and brought in such prolific frustrated rage. “You’re an anachronism! You belong
artists as Gil Kane and Sal Buscema (whose styles, in the dead past! The world—has no more use—for
although leaving something to be desired after the idealism!” “It’s you who are wrong!” counters Cap.
work of Kirby, Ditko, Heck, Colan, Romita and John “The only true reality lies in faith—and hope! The
Buscema, yet offered their own brand of excitement world is still young—the future lies ahead—It’s you
lacking in such artists as Tuska and Trimpe). who have outgrown the dream—you who are blind
to the promise of tomorrow!” They were sentiments
Captain America #101 that readers sensed were genuine not because their
“When Wakes the Sleeper”; Stan Lee (script), comic book heroes said them, but because Lee,
Jack Kirby (pencils), Syd Shores (inks) backed by the uncompromising images of Kirby,
Cover: Jack Kirby (pencils), Syd Shores (inks), wrote them. And so, the new Cap feature, at least,
John Romita (inks [Red Skull’s head])
was off to a rocketing start. But what about the rest
But as there were disappointments in Marvel’s of the “big three” expansion titles?
expansion, there were also triumphs of the kind that
were at least the equal of any of the company’s now Dr. Strange #169
classic titles and which some might argue were even “The Coming of... Dr. Strange”; Roy Thomas (script),
better! Dr. Strange, SHIELD and Captain America, with Dan Adkins (pencils), Dan Adkins (inks)
their combinations of good stories and great art, Cover: Dan Adkins (pencils & inks)
represented the pure distillation of what it was that Dr. Strange #169 (June 1968), the second of the “big
made the grandiose years what they were. One look at three” expansion titles,
any of them was all a reader needed to tell that adjectives got off to a solid start with
like “unexciting” and “mediocre” could never in a a script by Roy Thomas
million years be applied to them! The grand style had and art by Dan Adkins.
always had its share of characters that were larger than Adkins, who’d taken over
life, but the ones in these books were impossible! Nick the strip late in its
Fury, far from being a 50-something veteran of World Strange Tales run,
War II, would shame James Bond into retirement, and provided a much needed
even Dr. Strange eventually adopted a sleeker, more injection of visual
fearsome appearance. But greatest of all continued to excitement to the feature
be Captain America as Kirby, still teamed with Shores after a long string of
as of Captain America #101 (June 1968), turned out a inappropriate work by Bill
succession of stories that raised the character to still Everett and Marie Severin.
new heights of visual dynamism. No one else so Adkins did it by coming
encapsulated the art style that dominated the grandiose closest to capturing the
years as Kirby did and in the new Captain America offbeat otherworldliness
book—he really cut loose! Never did Captain America Dan Adkins hard at
work in his studio.
that’d been missing from
seem so imposing, so electric with repressed power and the strip since Ditko’s exit.

As it turns out, it wasn’t a job for Adkins who couldn’t produce enough work to make a living at it.
coincidence, because Adkins has Switching to inking, he would continue to make his presence felt at Marvel
since stated that he was told “up for years to come but his greatest influence would be on young, up-
front” by Lee to “draw like Ditko!” and-coming artists such as Paul Gulacy, Craig Russell and Val Mayerik
And in the beginning, he did, who, after apprenticing with him, would move on to become some of
swiping a pose here and a weird the most exciting and innovative creators of the twilight years.
phenomenon there, but soon a
personal style emerged, and by this
issue, he’d made his own individual
mark on the strip. Adkins’ expert
use of shadow and light (he
penciled and inked this issue!),
learned from an apprenticeship
ghosting for Wally Wood, turned
out to be perfect for Dr. Strange,
turning the character’s world back
to the mysterious, gloomy roots it
had under Ditko. This issue’s
splash page, for instance, includes
the use of three different textures: in
the deep background
Adkins has placed a
pillar with its
carvings in sharp
outline from some
out of view light
source; in the
middle distance,
the first pillar is
overlapped by a
second that stands
in deep, almost
obliterating shadow and in the
foreground, just behind the full,
well lit figure of Dr. Strange, is a
wall rendered almost two-
dimensionally in crosshatch. The
following page is a study in sombre
shadow as Strange ponders his
situation and the third page is
another splash of some nightmarish
beast illustrated purely in black-and-
white. Later in the story, which is a
retelling of Strange’s origin, Adkins

treats the reader to a panoramic
scene of snow-covered mountains
that stretches across the top of two
pages. Unfortunately, Adkins’ stay
on the book was short, ending only
two issues later in #171 (on the other
hand, his departure marked the Dr. Strange #169, page 2. Dan Adkins shows how it’s done as he
advent on the book of Strange artist returns the Strange strip to its roots of Ditko era mood and
supreme Gene Colan). Penciling oppressive menace. Here, the artist takes a quiet, contemplative
scene and turns it into black gold!
had always been a slow, laborious

Captain America #102 bear elements of design and publishing techniques

“The Sleeper Strikes!”; Stan Lee (script), Jack Kirby he’d learned while working in the advertising
(pencils), Syd Shores (inks) industry. Soon the “SHIELD” strip became littered
Cover: Jack Kirby (pencils), Syd Shores (inks) with such special visual effects as dropped color holds,
The team of Kirby and Shores struck again in Captain Zip-a-tone, collage and hypnotic patterns. In addition,
America #102 (July 1968) as our hero faces the everything was put on the page in increasingly
incredible menace of the Red Skull’s Fourth Sleeper! imaginative layouts using various geometric shapes,
It’s true! You see, even though Cap had once before overlapping panels, symbolism and foreground
foiled a plot by Hitler and the Skull who, in the images used to divide panels and even whole pages.
event of their deaths, planned to destroy the world (if Steranko’s fondness for film also showed up in his
they couldn’t have it then nobody could!) at the work, using its techniques of long and tracking
hands of three robotic “sleepers” (count ’em yourself shots, close-ups, time lapse and montage. In fact,
in Tales of Suspense #s 72-74!) it turns out they were just Steranko packed so much stuff in his work that it
appetizers to the Fourth! And this one’s a doozy! threatened to overwhelm the stories he was ostensibly
Gigantically bulky, the Fourth Sleeper can walk trying to tell! It went against every rule of what
through solid rock and, firing a kind of super-heat ray Goodman probably thought was necessary to make
from its face, can ignite volcanoes and lay waste the a successful comic, and the wonder is how Steranko
whole planet! Armed only with his indomitable self- got away with it! Be that as it may, when the strip
confidence and a mysterious sonic key stolen from graduated to its own title, the artist at last had the
the Skull the issue before (and with the help of girl elbow room to go wild, and although each book was
friend Sharon Carter, SHIELD Agent 13), can Cap produced as a single-issue story, they continued to
stop it in time? Not by himself it turns out as it’s pack all the goodies fans of the “SHIELD” strip had
Sharon’s love and concern for him that activates the come to expect. Beneath a wonderful cover that
key and disables the Sleeper. Sure, it’s a bit of a owed more to San Francisco poster art than Marvel-
disappointing ending, but Lee and Kirby were only style Kirby action (it would join several others in the
human and even they couldn’t bat a thousand every series as pop art classics), Steranko’s first full-length
time (but they sure came close!) And besides, this story tells the tale of Scorpio, a man out to finish
issue’s art by Kirby and Shores was more than Fury for personal reasons that are left unexplained,
enough to make up for it what with their gorgeous when he’s apparently killed in a fiery explosion.
set-up for the “Isle of Exiles” which begins with a Interestingly, Steranko tells the story of Scorpio and
four-panel page introducing the Red Skull (green Fury in parallel with another seemingly unrelated
jumpsuit, white scarf, glass of wine and all!). But the
real payoff is the realization that this two-part
Sleeper story is actually nothing but a lead-in to the
Red Skull epic to follow. It was the grandiose years
writ large and they were still going strong!
Nick Fury, Agent of SHIELD #1

“Who Is Scorpio?”; Jim Steranko (script,
pencils & inks)
Cover: Jim Steranko (pencils & inks)
The third and by far the most eclectic of the “big © 2009 Lucasfilm Ltd.
three” expansion titles was Nick Fury, Agent of
SHIELD #1 (June 1968) and contrary to what the title
claimed, the real star of the book was Marvel’s
renaissance man Jim Steranko. Hired practically off
the street by Lee in 1965, Steranko had little experience Although it was comforting to think that
in comics when he began penciling over Kirby’s Steranko’s visual style may have been helping to
layouts in Strange Tales #141. But that ignorance may raise the quality of Hollywood filmmaking (by
have been a blessing in disguise, because by #154 providing concept art for such films
as Indiana Jones ), tinseltown’s gain was
Kirby had gone and the credits were reading “plotted
definitely a loss for Marvel readers. As the
and drawn by Jim Steranko,” and with the very next twilight years progressed, the artist would
issue he was writing the strip, too! With all of the spend less and less time producing comics.
creative reins in hand, Steranko was able to bring to
plot involving a failed nightclub comedian who runs afoul of organized medium be far behind? But like
crime. The two plots eventually come together in an unexpected way, a candle burning brightly,
their somber denouements underlined by the recurring motif of falling Steranko’s presence in the field
rain: “…and it rained most of that day…and far into the night!” It would be short-lived. Immensely
marked a spectacular and impressive debut for the SHIELD strip and influential and a pioneer in
a perfect example of why Steranko was setting the comic book world demonstrating the potential of the
on fire. With triumphs like this, could recognition of comics as a serious medium, even a human dynamo
like him couldn’t meet a regular
monthly schedule and maintain
this level of quality. Eventually it
would catch up with him and
force him all too soon from the
SHIELD book.
Fantastic Four #76

“Stranded in Sub-Atomica”;
(pencils), Joe Sinnott (inks)
Joe Sinnott (inks)
Although this late in the grandiose
years when the Fantastic Four strip
was showing clear signs of
approaching decline, Lee and Kirby
were yet able to muster another
surprise that lived up to the boast
of being “The World’s Greatest
Comic Magazine.” Perhaps influenced
by the 1966 release
of the film Fantastic
Voyage (which was a
box-office hit in 1966
for 20th Century
Fox), the plot of
Fantastic Four #76
(July 1968) has
Reed, Johnny and
Ben shrinking
down smaller than
molecules and enter-
ing a strange new
sub-atomic universe. While not
exactly an original idea in the
world of science fiction (and not

even to Marvel as the FF had once
done the same thing in issue #16), it
nevertheless ranks with the
company’s other great concepts of
Galactus, the Negative Zone and
the Kree by virtue of its being
Nick Fury, Agent of SHIELD #1, page 3. This wordless sequence presented this time in the grand
from Shield’s first issue demonstrates how Steranko was already style. Like the Negative Zone, Kirby
thinking in cinematic terms: it looks more like the storyboards of somehow infuses “Sub-Atomica”
a film treatment than a comics page.
with an indefinable strangeness that

In what would be the FF’s last great issue, Fantastic Four

#77 (Aug. 1968) marked a spectacular climax to nearly
seven years of unbroken excellence and imaginative
power. Oh, Lee and Kirby would continue working on
the book for at least another two years, but from this
point on there’d be a steady decline of both artistic and
story quality. A likely reason for that might have arisen
from the working relationship of the two men. Over the
years, at least from the time of those issues in the early
40s, Lee (after brief story consultations over the phone
or in the office) had given Kirby increasingly free rein in
how to plot the stories while mostly confining himself
to the scripting. A good indication of the equalizing of
the two men’s contributions to the book can be seen in
the credit box which by this issue simply reads
“Another Stan (the Man) Lee and Jack (King) Kirby
cosmic creation!” instead of such clearly defined creative
Fantastic Voyage, released in 1966, may have
assignments as “writer” and “artist” as in past issues.
been an inspiration for the FF’s journey to
Sub-Atomica, but a more compelling case might With less editorial and even plot input by Lee, Kirby’s
be made for the Jack Williamson story “ The grasp of the book soon began to loosen. With the
Pygmy Planet” published in 1932, in which the exception of the Dr. Doom storyline in #s 84-87 (which
hero enters a plane much like Reed’s reducta- itself was a swipe from The Prisoner, a British television
craft and shrinks down in order to fly into a show airing in the US at the time), the rest of the FF run
shrunken world of adventure!
became increasingly mediocre. Another reason for the
decline of the book may have been Kirby’s disenchant-
belies its obvious similarity with plain old outer space. ment with his position at Marvel. As Lee’s fortunes
For instance, as the FF (traveling in Reed’s latest outside the company rose (his had almost become a
invention, a “reducta-craft” which propels itself with household name with celebrities from Hollywood and
the forces built up by its own shrinking action, “Just as the rock-and-roll and literary communities breezing in
a balloon moves quickly when the air is expelled!”) are and out of his office at 625 Madison Avenue), Kirby felt
in the process of shrinking, they enter a smear of liquid that his were neglected. Eventually that resentment
on a microscope slide and are soon passing through would lead to his shocking departure from Marvel and
an inexplicable maze of molecules (only Kirby his move across town to rival DC. In tandem with his
could’ve expected to get away with presenting what increasing control over the books he drew, there was a
are supposed to be actual molecular clusters that look concurrent decline in the quality of Kirby’s art too. To
as unrealistic as similar models found in any high be fair, much of what seemed to be wrong with it may
school physics class!) Able to breathe normally in this have been the fault of his inkers—Colletta on Thor
weird wonderland, the FF are soon caught up in a and Sinnott on the FF. Although this issue, for instance,
series of deadly encounters with such menaces as is a great example of the dynamism and visual
Psycho Man and his Indestructible One. You see, this inventiveness that still infused Kirby’s art, there’s
issue’s story actually began in #74 when Galactus nevertheless a certain “sameness” that’s creeped into it.
returns to Earth in search of the Silver Surfer. Figuring Too many poses and layouts are familiar and too
out that he’s gone into the microverse, the FF determine frequently there’s a lack of detail. Eccentricities such
to follow him and take him back to Galactus before the as squared fingers and knees have now become
space-god’s hunger becomes so overwhelming that he bothersome mannerisms. Where Sinnott had once
breaks the promise he made in #50 and consumes the complemented Kirby’s strengths, he now seemed to be
Earth. They succeed of course, but instead of heading accentuating his weaknesses. But if, as all things must,
home, Reed decides that as long as they’re in Sub- the vastly fruitful partnership of Lee and Kirby had to
Atomica, they might as well beat up on Psycho Man! come to an end, then it could hardly have a better send-
off than this issue’s “Shall Earth Endure?” The climax of
Fantastic Four #77 the FF’s battle with the sinister Psycho Man, the story is
“Shall Earth Endure?”; Stan Lee (script), actually the visual equivalent of a puzzle box in which
Cover: Jack Kirby (pencils), Joe Sinnott (inks) the defeat of one version of the Psycho Man reveals still
another in some different form. “We have to keep

remembering…he’s a master of emotional and cerebral

imagery. He can make us imagine almost anything!” Lois lane #117. werner Roth, like John Romita,
had spent years as a romance artist with a
One by one, the FF defeat an image of Psycho Man style that was just a little too formal for
induced by use of an “encepho-projector,” a giant robot Marvel super-hero action.
Psycho Man and finally a jazzed-up version of the
villain himself. The battle ends not with the defeat of
the outside world. When
Psycho Man, but with his realization that the FF are
Thomas tried it (taking
needed back in the macroverse to help ward off
advantage of being the
Galactus “…an alien galactic power…so awesome…
writer on both the X-Men
so totally omniscient…that he can destroy us with the
and the Avengers to have
merest gesture!” Even at this point, on the verge of the
the two teams crossover)
company’s twilight era, lines like that, coupled with
it only served to empha-
Kirby’s imagery, still had as much power to stir the
size the fact that the X-Men
imagination as they ever did. There was still life in
were round pegs trying
the grandiose years, but increasingly now it would
to fit in square holes. It
be displayed in other books than those by Kirby.
just didn’t seem to work.
Alienation and suspicion
X-Men #46 by the outside world were
“The End of the X-Men!”; Gary Friedrich (script), Don
Heck (pencils), Werner Roth (pencils), themes raised early in the
John Tartaglione (inks) strip’s history by Lee and
“...And Then There Were Two”; Gary Friedrich (script), Kirby, and no matter how he tried, Thomas seemed
George Tuska (pencils), John Tartaglione (inks) unable or unwilling to get away from it. In truth, those
Cover: Don Heck (pencils), John Verpoorten (inks) very qualities were what made the characters not just
By the time of X-Men #46 (July 1968), the title had come interesting, but unique compared to their costumed
into some desperate straits. One of the first super-hero fellows. They were elements that would only really
books whose writing chores were to be relinquished by catch on years later, far beyond the twilight years. In the
Lee, scripting on the feature soon devolved to new- meantime, however, the book was hemorrhaging sales
comer Roy Thomas. Still learning the ropes at Marvel and dying a slow death. Desperate measures were
(he had a penchant for overwriting), it was Thomas’ called for to shake up the status quo. First, Thomas got
misfortune to be teamed with a series of unexciting rid of the team’s signature blue and yellow uniforms
artists. Werner Roth to be sure was solid, but never for individualized (and more colorful!) costumes. Next,
seemed to catch on to the Kirby-style layouts required the masthead was changed to “The X-Men featuring”
to make the book sell; and although experience told in a radically reduced crawl line at the very top of
when Heck stepped in later on, Roth’s inks over his the cover followed in bold lettering by a giant blurb
pencils diluted whatever impact he may have had on spotlighting each issue’s topic. (This issue for instance
the book. Other problems reads: “The End of the X-Men!”) The change was
with the X-Men lay in the definitely radical, but also a bit of a slap in the face for
title’s continuing insularity the X-Men whose own name was deemed unable to
from the rest of the carry the book! In #42 Thomas killed off Professor X,
Marvel universe. On leaving the team leaderless and bereaved, which is
one level, that was a where we find them this issue. In a story that’s more
good thing, serving to character study than action-adventure (even though the
emphasize the group’s Juggernaut does make an untimely appearance), the
shunned or outsider team members must grow up fast as they preside over
status; on another, it the execution of the Professor’s will and the closing of
resulted in lost his school. More importantly, they have to deal with the
opportunities to make the sudden appearance of FBI agent Amos Duncan who
book more reader-friendly. tells them that they’re requested by the agency’s special
But then maybe, lacking a Mutant Division to disband! Throughout the book,
thorough revamping, the Thomas handles the characters’ grief and heartache
strip and characters just with sensitivity, neither rushing through what some
didn’t lend themselves to might think to be dull scenes nor missing opportunities
rubbing shoulders with Gary Friedrich. for the character development and inter-member

dynamics that had become his forte on this more than Kirby combat, the story was nevertheless saved from
any of his other books. Unfortunately, the X-Men’s being an empty slugfest by a theme that gave it
dark road would stretch on for some time yet with meaning and purpose. Fighting for wife, sister, friend
more changes to come. The next few issues would see Sue Richards and her unborn baby, the first family of
the characters going into action either solo or in pairs super-heroes once again illustrate the positive values
(“The X-Men Featuring: The Beast and Iceman!”) and optimistic outlook that epitomized Marvel in the
until coming together again for a string of badly 1960s. In this case, the value of every human life,
produced books (even a brief stint by Steranko couldn’t no matter how insignificant or even unborn. “He
save them). But when the strip finally emerged from seems so helpless…so tiny…in a world that’s so
mediocrity, it would be with one of the most amazing gigantic…so filled with unknown dangers!” muses a
resurrections in comics’ history! sombre Reed, cradling his newborn son in his arms
(and readers didn’t need to have super-villains in
Fantastic Four Special #6 their own world to understand those sentiments).
“Let There Be Life”; Stan Lee (Script), “We’ll never stop trying to make this nutty world of
Jack Kirby (Pencils), Joe Sinnott (Inks) ours a better place…So that he…and all the other
Cover: Jack Kirby (pencils), Joe Sinnott (inks) little children everywhere…can grow up in
If the FF title had been intended as a mini-series, then peace…and brotherhood!” says Johnny. If the FF
the 48-page blockbuster story featured in Fantastic series had ended there, that scene (the conclusion of
Four Special #6 (Nov. 1968) would’ve made the perfect the natural cycle of life begun in the book’s earlier
climax. Continued almost directly from events in FF issues with Reed and Sue’s courtship) could’ve
#80, the story here involves the discovery of served as the perfect coda to the most creatively
complications with Sue’s pregnancy resulting from successful group of books in comics history, but it
her exposure to cosmic radiation—the same didn’t. As well paced and thematically satisfying as it
mysterious forces that had originally given her the was, the issue yet suffered from the same drawbacks
power of invisibility. With herself and her unborn found in the regular monthly book, namely a
child in mortal danger, Reed figures out that the only slowdown of Kirby’s creative energies and less
thing that can save them is a dose of anti-matter rigorous inking by Sinnott. Not to say the art was bad.
energy, and the only place it can be found is in the In comparison to many of his contemporaries, Kirby’s
deadly Negative Zone. But no sooner do he, Johnny art was still great, but in terms relative to his own past
and Ben enter the Zone than they find themselves achievements, it showed very definite signs of
captured by Annihilus, slippage. And, like it or not, Kirby’s time as the “king”
Lee and Kirby’s last great was passing. New artists, with more sophisticated
FF villain, who just styles were entering the comic book business and in a
happens to wear a few years, Kirby’s style, the style that had dominated
“cosmic control rod” comics off and on for thirty years and defined Silver
beneath his chin, the very Age Marvel, would become anachronistic.
item Reed is looking for!
Suffice it to say, the Daredevil #42
insectoid Annihilus is “Nobody Laughs At the Jester”; Stan Lee (script), Gene
defeated and his rod Colan (pencils), Dan Adkins (inks)
Cover: Gene Colan (pencils), Dan Adkins (inks)
taken as the FF return to
Earth in time to save its Although by this time Lee seemed only to be playing
distaff partner. Packed by the numbers in his scripting chores on the FF and
with scenes of patented Thor (where it was likely that he’d given over the bulk
of the plotting duties to Kirby), on other strips he was
definitely firing on all burners! A good example of
Enthusiastic readers in their youth, both Lee
that is Daredevil #42 (July 1968) which introduced
and Kirby were very likely influenced by such
SF magazines as the April 1938 issue of another quirky, but wonderfully appropriate villain
Thrilling Wonder Tales which included Jack for DD (on the order of such past weirdos as the Stilt
Williamson’s “ The Infinite Enemy,” a tale that Man, the Leap Frog and the Purple Man). The Jester
featured a combination of elements from both started out as a failed actor who, out of resentment
the Negative Zone and Sub-Atomica striking in for slights suffered at the hands of unappreciative
their visual similarities to what Kirby was
drawing in the FF.
audiences, turned to crime. Using an arsenal of toys
(one of the most effective of which was a yo-yo!) he

hires himself out to crooked New York mayoral the Jester as he faces Raleigh from the frame of an
candidate Richard Raleigh to scare rival candidate Foggy open window into a darkened office or the two-page
Nelson out of the race. One of the neat things about sequence of the Jester’s bank heist and escape in a
the Jester is how Lee writes his frustrated personality, stolen car along deserted, night-darkened streets;
as if he’s constantly on stage and performing for the gorgeous!) Capitalizing on his facility for drawing
crowds. His image of himself as a great actor prevents realistic faces, Colan fills the book with vivid portraits
him from realizing the serious situations he gets of all the book’s supporting characters, including
himself into while in constant search of the spotlight. the lantern-jawed Jonathan Powers (the Jester), the
“The play is ended at last…” muses the Jester after sinister Raleigh and a gallery of supporting players.
robbing a bank. “And it has been a rousing success! A But the neat thing about this book is that, like a good
pity there are none to applaud! But, alas, that is one of play, it serves only as prologue to the main event, a
the penalties of a criminal career…! I must forego the multi-part Jester storyline that starts in #44.
ovations…and the cheers! The tribute of an audience
shall forever be denied me!” But the success of the
Jester as the consummate DD villain would’ve been Daredevil #42, pages 2-3. Although the panels in
this double-page sequence are laid out in a
considerably lessened if it wasn’t for the penciling of conventional manner, the POV within each is
Gene Colan. Having started as the regular artist on almost cinematic in their dynamism. Very soon,
the strip with #20, Colan hit the ground running with Colan would break out of the traditional
a style already quite sophisticated, but such a head panel-to-panel straightjacket and begin to use
start didn’t stop him from refining it. And with this the shape of his borders to more accurately
capture the mood taking place within them. And
issue, his art is slicker than ever (aided by Vince
Vince Colletta’s inks could hardly serve better
Colletta, whose inks here perfectly complement than they do here over Colan’s darkened street
Colan’s many shadows, especially in a panel showing scenes.

Captain America #103 battle with the Skull, the book just oozed excitement,
“The Weakest Link!”; Stan Lee (script), grandiosity and the highest stakes. And as always,
Jack Kirby (pencils), Syd Shores (inks) adding a veneer of sophistication and deeper value to
Cover: Jack Kirby (pencils), Syd Shores (inks) what on the surface could’ve seemed like just another
What a difference an inker makes! While Sinnott’s action fest, was Lee’s scripting. Soaked with drama
loosening inking work on the FF only emphasized (but with genuine feeling), Lee’s words again elevate
Kirby’s increasing weaknesses, Syd Shores’ style did the quality of the Skull’s evil to gigantic proportions.
just the opposite on Captain America. There, Shores’ No longer is he simply out to make the world safe for
brushwork added the detail that Sinnott’s too literal fascism, the Red Skull is now the personification of
interpretation of Kirby’s pencils lacked. In addition, evil: suave, sophisticated, ruthless. And as great an
with the use of different kinds of shading, from solid artistic triumph as this issue was for Kirby and Shores,
blacks to crosshatching, Shores was able not only to it’s Lee’s ringing words, bolstered by his knack for
preserve the ethereal feel of the pencil work, but cadence and rhythm, that really stands out as, at the
avoided the two-dimensional quality that resulted climax of the story, when hero and villain meet, their
from Sinnott’s failure to capture the nuances of Kirby’s philosophical differences are laid out in the starkest of
originals. There was nothing, for instance, in concurrent black-and-white terms. “There is no master race,” Cap
issues of the FF that compared even remotely with the says to the Skull. “We’re all human beings—all equal
magnificence of the full-page shot of a foreshortened before our creator! Nothing you can ever say or do
Cap as he swims toward Exile Island in Captain will change that!” “Equality! You fool—equality is—
America #103 (July 1968)! In an issue filled with just a myth!” “A myth, is it? Then America herself is
flattering ink work, nothing showed off Kirby at his just a myth—as are liberty, and justice—and faith!
power-packed best, at the height of the grand style, as Myths that free men everywhere, are willing die for!
this single indelible image. But believe it or not, that’s It’s tyranny which is the myth—And bigotry which is
only the tip of the iceberg! Throughout this opening an abomination before the eyes of mankind! For
volley of the latest battle between Cap and the Red humanity has come of age—And, so long as love, not
Skull, Shores’ efforts must’ve gone a long way to hatred, fills men’s hearts—the day of the tyrant is
restoring the faith of readers who might have begun to ended.” It was another variation of the optimism that
suspect that the King was losing his vitality. From was at the bedrock of Silver Age Marvel, the natural
the appearance of the Skull and the introduction of optimism of a nation following its recovery from the
his rogues’ gallery of Nazi war criminals to Cap’s assassination of a President and the optimism of two
spectacular assault on Exile Island to his one-on-one men, members of “the greatest generation,” who had
lived through Depression, World War and Cold War.
It was this spirit that readers sensed about Marvel,
if only on an unconscious level, that was the real
inspiration for their fierce loyalty to the company
and their disdain of any others.
Captain America #104

“Slave of the Skull!”; Stan Lee (script),
Jack Kirby (pencils), Dan Adkins (inks),
Jim Steranko (inks [pg. 11])
Cover: Jack Kirby (pencils), Dan Adkins (inks)
In the power-packed climax to the Red Skull’s latest
assault on humanity, the action is so furious, so
non-stop, that a reader could almost be forgiven for
not noticing Shores’ absence in the inking department.
Filling in for him in Captain America #104 (Aug. 1968)
is Dan Adkins, whose sharply defined use of blacks
The assassination of President Kennedy at the may not have been the best that could be hoped for
start of the 1960s and the social chaos that over Kirby’s pencils. Like Sinnott, he was often too
continued through the rest of the decade for slavish in his adherence to what Kirby has put on the
some seemed to bear out the Red Skull’s page, with results that were a good deal less “warm”
argument that men, such as the average-looking than Shores’ more artistically balanced work. As
Lee Harvey Oswald, were basically evil.
such, Adkins’ style tended to accentuate Kirby’s

weaknesses, the stock postures and the too frequent

use of shadows. Which isn’t to say that Kirby’s innate
dynamism doesn’t come through. Far from it! Even
an ostensibly static full-page shot of the Skull (seen in
close-up, cigarette holder in his mouth and cravat
wound nooselike around his neck, in the lower half of
the panel) and his band of exiles seethes with menace
and restrained mayhem. And when the action
starts in earnest halfway through the book, Kirby
choreographs Cap’s battle with the six exiles
(Cadavus, Monarch of the Murder Chair and Iron
Hand Hauptmann, the Butcher of Bavaria among
others!) across a series of six-panel and quarter-panel
pages as smoothly as ever. But again, it’s Lee who has
the last word as the forces of SHIELD invade Exile
Island in the final scenes. With the enemy defeated
and Old Glory firmly in hand, Cap tells the victorious The increasing divide between realists who
soldiers, “We defeated Nazism, and all it stood for, continued to see a threat against the free
world posed by international Communism and a
more than 20 years ago! And here, on this site—
more optimistic but naïve younger generation
we did it again! Let this be our answer to the scoffers placed Captain America (and writer Stan Lee)
and the doubters—to those who think democracy in a difficult position vis a vis readers who
has lost its resolve! Wherever the deadly specter of carried on vigorous political debates in the
tyranny looms—the spirit of free men—proud and Star-Spangled Avenger’s lettercols.
united—will drive it from our shores!” It was 1968,
the year of the assassinations of Martin Luther King The scene, an interlude between the thunder god and a
and Robert Kennedy, the invasion of Czechoslovakia trio of tripped out hippies (whose figures Lee obviously
by Warsaw Pact forces, the announcement by had redrawn by someone in the bullpen; did he feel
President Lyndon Johnson that he wouldn’t seek a that Kirby’s originals weren’t genuine enough?) The
second term, rioting in the streets of Paris and three hippies, long haired, adorned with love beads
Chicago and the Tet Offensive. Was Lee, well and medallions and sporting Nehru jackets and army
established as the guru of the comics world and surplus outfits, catch Thor’s attention while he searches
rising star of the countercultural left betraying his the streets for Loki. “I dig the hair and the guru
progressive image by embracing such reactionary getup—but that hammer’s from nowhere man!” says
sentiments as patriotism and duty or were they merely one. “Thou deign to scoff at enchanted Mjolner?”
expressions of his naturally unrestrained optimism? wonders Thor in a line that could’ve come straight
Who knew? But it sure sounded great! from Not Brand Echh. “Hey, that’s wild! You even got a
name for it!” But Thor quickly takes the measure of
The Mighty Thor #154 the three youths after they tell him that they’ve
“To Wake the Mangog!”; Stan Lee (script), “dropped out.” “‘Tis not by dropping out—but by
Jack Kirby (pencils), Vince Colletta (inks) plunging in—into the maelstrom of life itself—
that thou shalt find thy wisdom!” Thor tells them as
But Lee had the kind of personality (and skill!) to he prepares to depart in a blazing ring of energy.
make himself seem all things to all people. “There be causes to espouse! There be battles to be
Presumably, red-blooded, all-American kids read won! There be glory and grandeur all about thee—
Marvel comics for the action and embraced its Comics if thou wilt but see! Aye, there be time enow for thee
Code-approved middle-class values while older, to disavow thy heritage—Yea, thou mayest drop out
college and draft age readers at least thought they fore’er…But, so long as life endures—thou must live it
detected a figurative wink from Lee when he treated to the full! Else, thou be unworthy of the title—man!”
his own material with a knowing self-deprecation. “Verily, they have eyes, but seeth not!” says Thor after
How else to interpret a scene from The Mighty Thor #154 leaving Earth. “When life doth seem too much to
(July 1968) which, on the one hand, Lee provides a gentle bear—’tis not the time to renounce the struggle! The
reproof of the growing counter-cultural movement ostrich hides—the jackal flees—but man—and god—
while on the other offers understanding by referring do persevere!” Softened somewhat behind Lee’s
to its adherents as being “pure of heart” and innocent? Elizabethan dialogue, the message is nevertheless a

harsh one for many of the country’s young people Mangog is actually a magically created being
seduced by the footloose lifestyle of the counter- composed of the combined strength of a “billion,
culture. And despite being able to sympathize with billion” beings. Beings of a race that had once
them and speak their language, Lee, who obviously threatened Asgard with invasion before being
still retained the nation’s traditional values, wasn’t stopped by Odin. Now, swearing eternal vengeance,
really one of them. But it was part of his charm that he Mangog slowly makes his way from the fringes of
could make himself (and Marvel comics) seem to be. Asgard’s hinterland toward the gleaming city itself,
It was one of the secret ingredients of the company’s smashing everything in his path. Determining to
success (begun with the chummy repartee in its letters unsheathe the fateful Odinsword, Mangog thus
pages during the early, formative years and now intends to destroy all of Asgard and the rest of the
integrated directly into the stories themselves during universe with it! As with the FF, Kirby here has
the grandiose years) and why competitors like DC probably taken on the book’s main plotting chores by
could only be seen by readers as stodgy, stuffy and himself and so credit for the ominous and suspenseful
reactionary by comparison. buildup to Thor’s inevitable confrontation with
Mangog next issue must go to him. From the story’s
The Mighty Thor #155 opening sequence with Thor flying through the
“Now Ends the Universe!”; Stan Lee (script), darkened skies of Earth (with Ragnarok on his mind)
Jack Kirby (pencils), Vince Colletta (inks) to the scenes of Mangog as he draws closer and
Cover: Jack Kirby (pencils), Vince Colletta (inks) closer to Asgard, battering down mountains and
It’s crisis time again in Asgard as Loki (on the run sweeping aside its proudest warriors, Kirby does a
from Thor in the previous issue) reaches the home of good job keeping the reader’s interest until at last
the gods ahead of his brother just in time to discover Thor is forced to ride out through a ruined landscape
that their father has entered the “Odinsleep,” a to tackle the monster personally. Can he stop Mangog
convenient story device that allows the craven Loki to himself or will big daddy Odin wake up from the
seize the vacant throne! Thus, when Thor finally Odinsleep in the nick of time? Stay tuned!
makes the scene, according to the nonsensical laws of
Asgard which prevent Odin from being awakened The Mighty Thor #156
for any reason on pain of death, Loki must be obeyed “The Hammer and the Holocaust!”; Stan Lee (script),
as the unquestioned leader of the gods! Adding to the Jack Kirby (pencils), Vince Colletta (inks)
confusion of The Mighty Thor #155 (Aug. 1968) (and no
doubt Thor’s frustrations After a very lackluster performance the issue before
with the Asgardian (a disappointing trend that had been developing with
legal code) is the sudden him for some time), Colletta seemed to bear down in
appearance of the greatest The Mighty Thor #156 (Sept. 1968) providing Kirby with
threat Asgard has faced some of the old inking magic that had made the team
in a millennia: the coming so successful in years past. And just in time too, as the
of the vaguely biblical Mangog storyline entered its third chapter and began
sounding Mangog. It all to shape up into the kind of epic story not seen in the
began last issue after book since the opening days of the grandiose years.
Ulik, mightiest of the trolls, Although resembling too closely a previous storyline
disregards a warning starring Fafnir, the dragon from the now defunct
message left by Odin and “Tales of Asgard,” the grand style of Kirby’s art together
frees the Mangog from with Colletta’s inking and Lee’s script yet combined
imprisonment. Powerful to make readers forget the past in the glory of the
beyond belief, the present as Thor, Balder, Fandral, Hogun, Volstagg
and even the Recorder join in their hopeless battle
with the Mangog. The proof? Take, for example, the
In real life, the vitality of the Norse gods
came to an end in the eighth century when St. page where Thor hurls “bolts of purest lightning” at
Boniface took an ax to an oak tree that was Mangog. Only Colletta’s fine line inking could translate
said to be sacred to Thor. When lightning failed the raw, seething expenditure of arcane forces latent
to strike Boniface down, the God of Christianity in Kirby’s close-up of Mangog’s laughing face (that
was deemed more powerful than the son of Odin he’d set in the middle of a cloud of roiling energies)
and the Germanic peoples abandoned their pagan
beliefs.
or depict a full-length Mangog, his body turned into
a living battery, glowing in the white heat of radiating

light. Other artistic highlights include a full-page illustration of Loki The Mighty Thor #157
sprawled upon the throne of Asgard (suitable for framing!) and another “Behind Him...Ragnarok!”;
showing the arrival of the Recorder at the Rainbow Bridge. It was Stan Lee (script),
flourishes like these that showed that the two men still had what it took Jack Kirby (pencils),
to put across the grandeur and sweep demanded by the Thor strip. Vince Colletta (inks)
The action followed into The
Mighty Thor #157 (Oct. 1968) as,
beneath an incredible, beautifully
colored cover by Kirby, Mangog
continued his inexorable progress
toward Asgard. It was the climax
of the last great Thor story as, like
the FF, the strip descended into a
series of mostly single-issue stories
that were often plagued with
continuity problems. Certainly,
the team of Kirby and Colletta
would continue to offer indelible
images of the thunder god in
action and even a brief stint by
Bill Everett on the inks would
bring a new kind of excitement to
Kirby’s pencils, but the stories
themselves would become flabbier,
with fewer details and sub-plots.
Supporting characters would
receive less and less attention
with little or no development of
Thor himself (except for a single-
issue story in #159 that attempted
to explain inconsistencies in his
origin). Exiled into
deep space, Thor
would be ordered
by Odin to seek out
Galactus (and learn
his origin) and most
disappointingly, to
defeat the mighty
Ego in a couple of
panels by shooting
an energy beam at
him from the head
of his hammer! A
hint of this creeping
lackadaisicality is to be had this
The Mighty Thor #156, page 11. In a story that had elements both issue when, after four books of
of absurdity and grandiosity, Kirby’s pencils were never bet ter constant combat and mounting
served than they were here with many outstanding examples of suspense, Odin, having been
Collet ta’s inking skills, including those in panel 3 where the
inker manages to convey an effect such that the reader can
awakened from his Odinsleep by
almost feel the blazing heat emanating from Mangog’s body! the commotion, shows up at the
last possible instant. Reversing the

“Odinspell” that defeated Mangog’s people millions and soon, with his production chores increasing,
of years before, Odin causes the creature to simply Romita was awarded a permanent work area in
vanish! Not exactly the most satisfying ending for an the crowded Marvel offices. But with growing
epic, but sadly one that set the tone for Kirby’s responsibilities (for all intents and purposes, Romita
remaining months on the book. became de facto art director), he was forced to cut
back his workload on Spider-Man and instead
Amazing Spider-Man #63 confined himself to layouts. Don Heck was brought
“Wings in the Night!”; Stan Lee (script), in to finish and ink the pencils. Shaky at first, the
John Romita (layouts), Don Heck (pencils), unlikely partnership soon settled down and became
Mike Esposito [as Mickey Demeo] (inks) one of the best at Marvel, with this issue a good
example. From the opening splash page with the
Believe it or not, the “Golden Age” of Romita’s brooding figure of the Vulture looking down over a
presence on the Spider-Man book had, by this time, rain-swept city to the aerial battle high over
already come and gone. Manhattan between the
From his solid, but shaky “old” and the “new”
beginnings aping Ditko, Vultures, the two artists
Romita had rapidly become offered plenty for a reader
more self-assured in applying to enjoy. Particularly well
his own style to the strip. done were this issue’s
In no time, he’d racked up many interludes involving
an impressive list of credits the various plot threads
including the introductions Lee always kept cooking in
of such new villains as the the Spider-Man book,
Rhino, the Shocker and the including ongoing relation-
Kingpin and supporting ship problems between
characters like retired Police Peter and Gwen, Peter’s
Captain George Stacy and fears that Capt. Stacy might
Mary Jane Watson. In discover his secret ID and
addition, his became the Norman Osborn’s ominous
defining look of Peter struggle with repressed
Parker’s world and the During the grandiose years, John Romita memories of his once
ambience of college campus, became a permanent fixture in the having been the Green
high-rise apartments, sleepy Marvel offices often acting as de facto Goblin. Unfortunately
bedroom communities and art director. though, the Romita/Heck
busy editorial offices that team wouldn’t last forever.
made it up. In short, by It came to an end in #65
Amazing Spider-Man #63 (Aug. 1968), Romita’s when Heck’s pencils and inks were taken over by
brightly lit design sense had succeeded in bringing the less than satisfying work of Jim Mooney, and in
the strip from its more insulated provincial origins #76 Romita would actually abandon the penciling
into the fast-paced, up-to-date world of the late chores all together.
1960s. By capturing the spirit of the times (what Lee
was most looking for in the strip) as he did, Romita Amazing Spider-Man #64
had made the Spider-Man feature the best selling of “The Vulture’s Prey”; Stan Lee (script),
Marvel’s expanding line of comics. Unfortunately, John Romita (layouts), Don Heck (pencils),
Romita soon became a victim of his own success. Mike Esposito [as Mickey Demeo] (inks)
Always one of Lee’s favorite artists (to whom he
always returned throughout the company’s periods The story in Amazing Spider-Man #64 (Sept. 1968)
of boom and bust), it didn’t take long after he actually began the issue before (in a book that
rejoined Marvel for Romita to find himself prevailed could’ve been titled the Amazing Vulture for what
upon to help around the office whenever he was in little action our hero saw!) when the “old” Vulture
town (once it would’ve been Kirby who was asked escaped from jail thirsting for revenge against
to do a touch-up here or a cover there, but by 1968 Blackie Drago, the “new” Vulture. Blackie, it will be
the “King” had removed himself to California, out of remembered, became the new Vulture in #48 after
reach of Lee’s constant pleas for help). Time passed gaining the confidence of the original Vulture while


the two shared a jail cell. Thinking he was on his Nick Fury, Agent of SHIELD #3
deathbed, the old Vulture told Blackie where he “Dark Moon Rise, Hell Hound Kill!”;
could find his costume on condition that his friend Jim Steranko (script, pencils & inks)
use it to defeat Spider-Man. Instead, Blackie laughed Cover: Jim Steranko (script, pencils & inks)
in his face and proceeded to do as he pleased (which For all the wonderful work being done in this period,
of course, meant a tangle with Spidey anyway). But from Kirby and Shores’ Captain America, to Romita and
his naked betrayal of the dying Vulture turned out to Heck’s Spider-Man to Colan’s Daredevil, there was still
be the best medicine the older man could’ve had. no one to compare with what Steranko was doing on
Making a miraculous recovery, he escaped prison the SHIELD strip! Sure, the other artists were knocking
and wasted little time hunting up Blackie to put the the comic book world dead with their individual
young upstart in his place. “Only by defeating takes on the grand style, the action, the color and the
you…thoroughly and completely…can I again dynamics were all there, but Steranko chose not to
regain my rightful place in the hierarchy of crime!” compete in that arena (although his stories had their
But an unenlightened Blackie, suffering from a quota of action). Instead, the excitement he generated
severe case of “ageism,” made the mistake of calling was done almost purely through his sense of design.
his challenger “an old relic.” “I’m younger and But for Steranko, design didn’t begin and end with a
stronger…and faster than you!” But he soon learned single page (as brilliant as some of Colan’s layouts
to respect his elders as the Vulture flies rings around were), it encompassed individual comics in their
him. “I’m thru! The Vulture’s too much…for anyone!” entirety. One effect led to another, which opened
a defeated Blackie finally admits. But if the organically onto the next, building stories to their
Vulture really was too much for anyone, no one told shattering, sometimes overwrought climaxes. But that
Spider-Man, who attracts his attention this issue by was the effect Steranko was looking for; influenced by
rescuing a child whose life had been imperiled by the pulp magazines that were popular in the first half of
the super-villians’ avian catfight. “Those rotten the twentieth century, he preferred to present visually
killers! They don’t care what happens to any innocent the non-stop, hectic pace of stories featured in such
bystanders!” Catching the attention of the victorious pulps as Weird Tales, The Shadow Magazine, Doc Savage,
Vulture (who’s gleeful at the chance of defeating Thrilling Science Fiction and Black Mask Detective, stories
two enemies in one day), Spidey suddenly becomes designed for fast reading by a semi-literate public with
the prey and what follows are some of the most a short attention span. A great example of the kind of
spectacular fight scenes ever seen in comics. fevered, pulp-style action
Together, Romita and Heck take full advantage of Steranko tried to convey
twenty pages almost completely free of the book’s in his work is Nick Fury,
usual sub-plots, to lay out a story in big half- and Agent of S.H.I.E.L.D. #3
quarter-page panels and filling them with movement (Aug. 1968) in which he
and dizzy angles. It was easily some of the very takes equal doses of
best work Romita ever did and the kind of stuff Arthur Conan Doyle and
that blew Marvel’s competition out of the water! Doc Savage to create what
But finally, after a story crammed with narrow begins as a gothic horror
escapes, crumbling masonry and even a peek at story and ends up as James
Mary Jane’s new hairdo (not an improvement!), the Bondian science fiction!
Vulture is defeated (but still gets away) and readers Indeed, Steranko said
are left not only psychologically exhausted, but once that it was his
with a cliffhanger as an unconscious Spider-Man is intention to do at least
left in the street with a crowd of bystanders slowly one comics story in every
moving in. “This is our chance…to unmask him at
last!” It’d be a long wait till #65!
A great influence on Steranko’s scripting was
the pulp magazine style of rapid-fire writing.
Amazing Spider-Man #63, page 1. A colossal Although pulps were largely absent in
example of the titanic team of John Romita, England, the country did have its version of
penciler and Don Heck, inker. A standard of pulp-style writers including Sax Rohmer and
excellence that would hold until after the title his contemporary Arthur Conan Doyle, whose
had passed its 100th issue and only then novel The Hound of the Baskervilles Steranko
because Romita would both pencil and ink his obviously used as the basis for the story in
own work. SHIELD #3.

genre and he begins here with a The next two pages ratchets down the brilliance, but not by much! A
cover obviously designed according double-page spread announcing the story’s title of “Dark Moon Rise, Hell
to the rules of gothic romance: Hound Kill!” Steranko here leaches the scene of color and drops holding
a fleeing female dominates the lines to create an ominous lead-in to the main story, which begins on the
foreground while behind her is the following pages. This time, Fury is called to England to investigate the
required, evil-looking manse mysterious death of a friend (he was apparently torn apart by a large dog).
presided over by a full moon and On nearly every page, Steranko regales the reader with new and different
the symbolic, ghostly visage of
Nick Fury himself. As beautiful as
this stunning cover is, the splash
page inside is even better! Here,
incredibly, Steranko reverses
expectations by having his best
work open a story instead of
building to it at the climax.
Reproduced solely from his pencils
and lit completely in a garish red,
Steranko (who wrote, drew and
colored this issue) unerringly sets the
mood for the weird tale to follow:
Evil winds: of terror stream,
As in some cruel unending
drama,
When th’ moon casts darke
upon th’ moor!
’Tis the hound o’hell whose
fiery breath
Bryings nightmare dread,
dispaire and death,
When th’ moon casts
darke upon th’ moor!
Blacke fire
glowing ’twixt
his teeth,
He seeks fresh
souls for
endless sleep,
Yet none dare
track that
phantom fleeing, © 2009 Marvel Characters, Inc.
Leaping lyke
some hell-bound
being,
When th’ moon
casts darke upon th’ moor!
B’ware then, th’ brute
beast’s fearful thrust,
Fall not prey to his
Nick Fury, Agent of SHIELD #3, page 1. Colored completely in
vengeful lust, blood red tones, this reproduction taken directly from Steranko’s
When th’ moon casts darke pencils is an example of the type of effect the artist was doing
upon the moor! that set fandom on fire in the late 1960s.

imagery, from scenes using multiple viewpoints to

overlapping panels to strobe effects and tracking shots,
he does it all without ever seeming to be simply piling
it on. Every visual device is part of an organic whole,
moving the story forward with grim inevitability until
its (somewhat predictable) climax. It was a bravura
performance and the most convincing argument yet
on why the artist couldn’t possibly meet a monthly
deadline on the SHIELD feature. Consequently the next
issue would be a fill-in and #5 would be his last. After
that, Steranko would never hold down another regular
monthly book. Short stands on the X-Men and
Captain America would lead into a few individual
stories for anthology titles before the artist eventually
left comics to devote himself to other media.
Silver Surfer #1
“The Origin of the Silver Surfer”; Stan Lee (script),
John Buscema (pencils), Joe Sinnott (inks)
“The Wonder of the Watcher”; Stan Lee (script), Gene
Colan (pencils), Syd Shores (inks)

Cover: John Buscema (pencils), Joe Sinnott (inks)
If Lee had indeed abandoned plotting responsibilities
on the FF, Thor and Captain America to Kirby (even his
scripting of the FF and Thor strips were hardly more
than perfunctory), then it begs the question: where
were his creative energies going? Well, production and
promotion for one. Freed from the distribution straight- Spectacular Spider-Man magazine-sized comic.
jacket imposed on the company for years, Marvel’s line Despite electrifying work by artists like
of books continued to expand beyond the splintering of Steranko and bold new features such as the
Strange Tales, Tales of Suspense and Tales to Astonish. Silver Surfer, Spider-Man continued to rule the
Marvel roost throughout the 1960s.
Captain Marvel had graduated to his own title while
Marvel Super-Heroes continued to feature new strips in
every issue and Sgt. Fury knock-off Captain Savage and race. With 38 pages of story every other month in which
His Leatherneck Raiders was launched only a few months to explore his personality, Lee had the Surfer torn
before. In addition, the company had begun to between his pity and desire to help the benighted
experiment with new formats including a magazine- human race and his loyalty to the memory of his lost
sized Spectacular Spider-Man comic and new, square- love Shalla Bal. As a result, the Surfer would remain in
bound 50-page comics sold at twice the 12-cent price of a state of almost constant anguish at the predicament
regular books. One of these special, double-sized which found him exiled on Earth, a world he wasn’t
comics featured the character that’d seized Lee’s sure if he loved or hated. But in taking this route, by
imagination and that both inspired and prompted him making the Surfer more human and so better able to
to do some of the best writing of his career. Intended to understand the human race, Lee risked diluting the
appeal to the hardcore Marvel reader, the kind of reader very quality that made the character such an effective
who knew the company’s increasingly complicated vehicle for social commentary. In this first story, for
continuity and thirsted for more coverage of the kind of example, Lee gives the Surfer an origin that places him
serious themes that the regular comics only touched on, on the paradise planet of Zenn La where all is peace
Lee determined to make Silver Surfer #1 (Aug. 1968) and light until the day when it is visited by a ravenous
what they were looking for. Although created full- Galactus. To save his world, Norrin Radd offers to
blown by Kirby in FF #48 with an initial personality that become the space-god’s herald in order to search out
indicated the character had no knowledge of what it other worlds with which Galactus can satisfy his
was to be an ordinary mortal, Lee quickly saw the hunger. Galactus agrees and Zenn La is saved, but at a
potential and appeal of the Silver Surfer as an objective terrible price for Norrin Radd who, as the Surfer, can
commentator on the triumphs and foibles of the human never return home, never see Shalla Bal again and


nowhere did it happen

Silver Surfer #1 (opposite page). Although in with more regularity
hindsight his origin seemed more a combination of
both a fallen Lucifer and a suffering Christ,
than at Marvel whose new
the Silver Surfer’s introduction in a action-oriented style
squarebound format gave Stan Lee a whopping 38 seemed to invite inkers to
pages to write the kind of morality tale that he put more of themselves
used to need only five pages to tell in his old into their work. As a
pre-hero Atlas monster days!
result, under the styles
of such wildly different
when he’s exiled on Earth, his misery is complete. But inkers as Stone, Colletta,
although Lee manages to give the Surfer’s character Sinnott, Shores and
more depth, it comes at the cost of a loss of credibility. Everett, the work of an
How can readers really accept the Surfer’s bewildered artist like Kirby appeared
pronouncements about the human race when he’s to shift and change in
obviously as human as they are? Be that as it may, Lee accordance to the
still manages to pull it off with such ruminations by the A young Tom demands of the particular
Surfer as: “In all the galaxies…in all the endless reaches Palmer came on feature he was illustrating.
of space…I have found no planet more blessed than like blockbusters in And yet, never could the
this…No world more lavishly endowed with natural his debut as inker contributions of any of
beauty…with gentle climate…with every ingredient to over Gene Colan’s
pencils on Dr.
these inkers be considered
create a virtual living paradise! Possessed of rainfall in Strange. and the of equal importance to
great abundance…soil fertile enough to feed a galaxy! It duo would go on to that of the penciler (purely
is as though the human race has been divinely favored become one of the from the point of view of
over all who live! And yet…in their uncontrollable top creative teams art that is, plotting by the
insanity…in their unforgivable blindness…they seek to in comics, especially artist is a completely
destroy this shining jewel…this softly-spinning for their work on
Tomb of Dracula. separate subject). Accept
gem…this tiny blessed sphere…which men call Earth!” maybe, for Tom Palmer.
Throughout the story, the script is bolstered by Lee’s Interestingly, Palmer had
measured cadences and rhythmic lines, which in turn been hired as a penciler and slated to replace Dan
are underscored by the art of John Buscema. It was an Adkins on the Dr. Strange book with #173, but
impressive launch for the new feature and as long as somehow Colan was assigned the task instead with
the title remained in the giant, squarebound format it Palmer inking. The funny thing was, no one knew if
continued to shine. Unfortunately, things didn’t stay Palmer could ink! Palmer himself has said he’d had no
that way for long. The new format was discontinued real experience at the job and in his first assignment on
with #7 and with the reduction to normal size, much of this issue of Dr. Strange #173 (where Colan’s
Lee’s enthusiasm for the book followed the lost pages. groundbreaking artwork would give any veteran inker
But while it lasted, the Silver Surfer managed to become pause!), thought that he may have overdone it. Not so’s
Marvel’s conscience, the handbook where the anyone could tell! In fact, this issue of Dr. Strange is a
dominant themes of the grandiose years were gathered landmark for being not only Palmer’s first work as an
and codified and made plain to every reader. inker, but the first time he and Colan would work
together as a team. Together, the two men would go
Dr. Strange #173 on to produce some of the most beautiful and most
“While a World Waits!”; Roy Thomas (script), significant work in the company’s twilight years, while
Gene Colan (pencils), Tom Palmer (inks) at the same time establishing for themselves a reputation
Cover: Dan Adkins (pencils & inks)
as one of the greatest artist/inker teams in comics
Through most of comics’ history, if the work of an inker history. The secret, apparently, was that Palmer’s inking
called attention to itself, then it was presumed to have style (which included a whole lot more than just going
failed in its intended purpose. That purpose was solely over an artist’s pencil lines) was perfectly matched to
to make an artist’s pencil sketches dark enough to be Colan’s intentions as an artist. Colan’s style had always
picked up in the printing process from which finished relied on movement and the elasticity of the human
comic book pages were produced. Of course, there’d body and of course, shadows, shadows, shadows!
always been exceptions to that rule as many inkers, Complementing those strengths, Palmer would lay on
being artists themselves, couldn’t help but impose thick, rich blacks that nevertheless were tempered by a
their own styles over that of the penciler. And liberal use of Zip-a-tone giving Colan’s pencils a depth

and fullness that made his cinema verite style even didn’t help his mental equilibrium any. Still suffering
more realistic. Later, by also coloring many of the books from a massive case of egocentrism, the Jester makes his
he inked, Palmer would gain even more control over debut this issue by having a jewelry heist interrupted
the look of the final product. His efforts over Colan (and by the police. And even though his plans are foiled, he
later over John Buscema and Neal Adams) became so considers escape victory enough. “He really is a full-
intrinsic, so organic to the look of the finished work, time nut!” wonders one of the police officers. “He goes
that any objective observer is forced to give Palmer to all that trouble to grab these jewels—then leaves ’em
near equal credit with the artist. But such virtuosity behind—and he thinks he’s won!” But to the thespic
didn’t come easy, and with the exception of Klaus Jester, “All that truly matters is the excitement of the
Janson (who began working at Marvel in the twilight game—the thrill of the chase!” But Lee’s delightful
years), Palmer had few imitators. portrayal of the Jester was only the frosting on the cake
for a story that turns out to have been as radically
Daredevil #44 written as it was laid out. Although Neal Adams’
“I, Murderer!” Stan Lee (script), concurrent work at rival DC has been credited as
Gene Colan (pencils), Dan Adkins (inks) opening up the typical comic book page to the limitless
Cover: Gene Colan (pencils), Jim Steranko (inks) possibilities of layout beyond its traditional 4-, 5- or 6-
After a single-issue interlude, the Jester was back to panel grid, Colan demonstrates in this issue that he was
plague DD in Daredevil #44 (Sept. 1968), but the time off as far out on the artistic edge as any of the younger
innovators that would enter the industry in the years
following 1968. Having begun stretching the limits of
panel borders (and sometimes breaking them!) with his
work on Dr. Strange, Colan swiftly developed the wide-
open layout style that would become his trademark
over the next few years. In “I Murderer!” Colan not
only took this style to the extreme, but created a whole
new visual dynamic that even dictated the form in
which Lee would shape his script. In particular were
those pages where Colan uses a series of downward
plunging panels and even a spectacular full-page shot
of DD swinging vertiginously over its suspension
cables in order to emphasize the high altitude action
atop the George Washington Bridge. A few pages later,
Colan and Lee team-up to offer the reader a breezy
combination of leading dialogue and overlapping
panels the better to depict DD’s struggle with Jonathan
Powers (alias the Jester!) high over the river. Finally,
Colan tops it all off with a radically designed broken,
split page layout that has the effect of pulling the viewer
irresistibly downward in the wake of the falling villain.
(Actually, the Jester jumped off the bridge as part of his
plan to frame DD for murder!) If he’d done nothing else
in his career, this issue alone would’ve been enough to
put Colan on the map! Meanwhile, forced to give up
the visually intrusive text blocks traditional with
comics’ storytelling, Lee instead produced a script that
was stripped to the bone and, combined with Colan’s
tumbling panels, keeps the story moving along at a
breakneck pace and rushing it to a surprise conclusion
as the manic Jester frames Daredevil for murder.
Throughout, the seamless scripting is perfect. Lee the
Strange Adventures #212, page 14. Colan’s only
writer never showed more self-restraint or wrote more
serious competition in the area of innovative naturalistic dialogue, while Lee the editor rarely shone
panel layout was Neal Adams over at rival DC. brighter than in the wisdom he displayed here in placing
the text and allowing Colan such artistic freedom.

Daredevil #45 wasn’t good (like Kirby, it was practically impossible

“The Dismal Dregs of Defeat”; Stan Lee (script), Gene to do a bad job on Colan), but there seemed to be
Colan (pencils), Vince Colletta (inks) something missing in his work. For instance, a lack of
Cover: Gene Colan (pencils), Frank Giacoia (inks) shadow in a scene in which Matt Murdock is standing
The second chapter of the greatest DD saga of all against a wall makes it seem as if a nearby telephone
continues directly from the previous issue’s cliffhanger is suspended in mid-air! But as it is, things were
ending in which our hero, wanted for murder, suffers moving much too fast in Daredevil #46 (Nov. 1968) for
the irony of being captured by the very man he’s anyone to pay much attention! It’ll be remembered
accused of killing! You see, the Jester, in his alias as that at the conclusion of last issue, DD was about to
Jonathan Powers, failed actor, maneuvered Daredevil be unmasked by a sinister prison trustee and not too
to the George Washington Bridge by announcing to surprisingly, he wakes up just in time to stop him.
the world that he knew DD’s secret identity and it was From there, things take a weird twist. Just as DD and
there that he intended to make it public. Worried, the Jester’s roles were reversed the issue before, it
Daredevil confronted Powers at the bridge just as happens again here as Daredevil, playing on the
news cameras were being set-up. Powers grabbed a would-be thespian’s outsized vanity, impersonates
startled DD yelling that the hero was trying to shove him on the Johnny Carson Show (!) in order to lure him
him from the bridge and a moment later, threw himself into the open. (DD had learned that Jonathan Powers
into the drink. Caught on film, the civil authorities and the Jester were one and the same when his
could only conclude that Daredevil had killed Powers heightened sense of hearing enabled him to realize
to preserve the secret of his true identity! Simple that both men’s heartbeats were alike!) The plan
right? But things get more complicated in Daredevil works. (“No one—no one cashes in on the Jester’s
#45 (Oct. 1968) as the roles of hero and villain are glory! All those frustrating years—when I couldn’t
reversed with DD the hunted and the Jester the darling make it as an actor. When fame—and stardom—were
of millions. Once again, Colan lays out the book in his denied me. I planned—and worked—and sacrificed
new, radical style with crazy shaped panels that to achieve this moment of triumph! And no one shall
literally zig-zag across the pages while Lee provides the rob me of it—no one!”) With the cameras rolling, the
super-slick, snappy repartee between the characters. Jester bursts in on the studio and immediately
In no time, the plot winds its way to the end of the plunges into a fight with DD. (Obviously enjoying
book and climaxes with a DD/Jester battle at another himself, Lee even has time to poke fun at his own
famous New York landmark, the Statue of Liberty (the scripting when he has the Jester say, “You brainless,
subject of this issue’s neat photo-cover; had avowed
film fan Colan just finished watching Hitchcock’s
Saboteur [1942])? Colan provides a last spectacular
flourish by having DD swing from Liberty’s
observation crown in a huge three-quarter-
page panel shot from high above a severely
foreshortened monument. The issue ends
in yet another cliffhanger: captured by
the police and placed in a jail cell, an
unconscious DD is about to be unmasked
by a curious trustee…!
Daredevil #46
“The Final Jest”; Stan Lee (script),
Gene Colan (pencils), George Klein (inks)
George Klein (inks)
Although Colletta did a good job inking the
first two-parts of the Jester saga (as well as
the character’s first appearance in #42), he was
replaced this issue by veteran George Klein who,
An acknowledged film fan, could Colan have had
although very nice on John Buscema over in the
Alfred Hitchcock’s film Saboteur (1942) in mind
Avengers, turned out to be a tad too literal for the for the scenes he drew in Daredevil #45?
more subtle pencils of Gene Colan. Not to say he
barnstorming, bumbling, boor! grandiose years that Lee seemed to embark on a deliberate campaign to
There’s nothing plain about the use his comics to enlighten readers on the important issues of the day.
Jester—not even his conversa- Sometimes the commentary was subtle, such as when the Watcher let
tion!”). At last, Daredevil manages drop the fact that there was a God (“There is only one who deserves that
to unmask the Jester, publicly name [all powerful]! And his only weapon…is love!”) or the frequent
revealing him as Jonathan Powers, appearance of African-Americans in crowd scenes. Later, minority
the man he was supposed to have
killed! It was a wild and woolly
three-part story with hero and
villain perfectly matched in
ability and temperament and two
creators, Lee and Colan at the top
of their respective forms. It’d taken
nearly four years from the title’s
early, uncertain issues through the
transition stories by Romita when
Lee finally seemed to find his
editorial footing to this final
flowering under Colan. And now,
just as the book
seemed to reach
its zenith, it would
all come to a sudden
end as Lee relin-
quished the scripting
chores to Roy
Thomas. But that
was only scheduled
for #49; in the
meantime, Lee and
Colan had one more
DD story to tell, and it may very
well have been the best yet.
Daredevil #47
“Brother, Take My Hand”;
(pencils), George Klein (inks)
George Klein (inks)
Although characters with three-
dimensional personalities, Kirby- © 2009 Marvel Characters, Inc.
style dynamic action and continuity

among its titles were all elements
that made up Marvel’s rise to success
in the Silver Age, none seemed to
go right to the heart of it as its
social conscience. Almost nascent
in the early, formative years, it first
became manifest during the years Daredevil #46, page 17. By the conclusion of the Jester saga,
of consolidation (expressed most Colan’s layouts, bleeding over from his work on Dr. Strange, had
obviously in Sgt. Fury and His broken wide open. It was too bad that he would end up leaving
Howling Commandoes). But it was the strip only a few issues later—but what was Strange ’s loss was
DD ’s gain as happily, he’d be back permanently by #53!
only with the arrival of the

characters began to be introduced as major characters

in various strips, such as the Black Panther in the FF
and Robbie Robertson in the Spider-Man strip. Also in
these years, Lee inaugurated his monthly “Soapbox”
column on the Bullpen Bulletins page that appeared in
each of the company’s comics. In the beginning,
the column was used to answer questions from the
readers or to inform them about behind the scenes
happenings at Marvel. But soon, the pace of current
events began to impress themselves on Lee (as they
had a habit of doing to everyone who lived through
the 1960s; but then again, maybe he was finding out
that readers he met on his college lecture tours were
interested in other things besides comics) and little by
little, he started to address them in his Soapbox.
Beginning modestly with a few paragraphs about
such general topics as toleration, understanding and
Despite Marvel’s anti-communist enthusiasms
love, Lee eventually expanded his remarks to cover
of the early years, it never quite faced up to
more weighty subjects. Told in the quasi-hip, breezy the country’s major military conflict of the
voice he’d developed over the years, Lee lectured 1960s. When Vietnam was used as story
readers on the evils of racism, the problems of war and material during the grandiose years, it was
peace, pollution, drugs and even religion. More than usually done in a neutral manner such as in
ever, Lee’s entreaty for the community of comic book DD #47 or Captain America #125 (where the
Mandarin turned out to be the real bad guy).
readers to come together in their mutual love of the
medium and to consider the letters pages of Marvel
comics neutral ground for the reasoned discussion of see Matt Murdock in the courtroom, Willie is cleared
sensitive topics appealed to readers. And when Lee of all charges. But to the ex-soldier, it’s a pyrrhic
began to practice what he preached by using the victory. “…Without my sight—where can I go? What
subjects he talked about in the Soapbox as themes for can I do?” “There are lots of things a blind man can
his stories, he inspired such loyalty (even a kind of cult do!” Matt assures him. “That’s easy enough for you to
of Stan Lee!) and pride among his readers that in some say!” And then Willie gets the shock of his life as he
cases it would take decades to break. Convincing learns for the first time that Matt is blind too. “You?
himself of the power of comics to influence young But—you’re one of the top lawyers in the country!”
people, Lee would eventually challenge the Comics Then, alone in his apartment, Willie reflects. “…a short
Code Authority itself in order to do stories warning of time ago I thought I’d hit bottom! But then I found me
the dangers of addictive drugs. Although never in a friend—and cleared my name! Now, even without
danger of being rejected by the Code Authority, the my eyes—I’m looking forward to tomorrow—for the
story of Willie Lincoln in Daredevil #47 (Dec. 1968) is first time! I feel like I’m part of the human race again!”
one of the most powerful examples of Lee’s desire to and “…when you get down to where it’s at—maybe
introduce relevant topics into his comics. The story of that’s what brotherhood is all about!” It was a
“Brother, Take My Hand!” begins in Vietnam as DD beautiful, well paced, thoughtful story that even had
performs for the troops. In the audience is Willie its quota of action told in the style that Lee had made
Lincoln, a black soldier recently blinded when he completely his own—that is, enlightening, even
risked his life to save his squad from a VC grenade. uplifting, without sounding preachy. And the
Later, speaking to him privately, Daredevil discovers amazing thing about it was, despite the easy
that although Willie is due to be discharged, he has opportunities to have made it a story about race, Lee
little hope of living a normal life on the outside. again (as he did with the Panther in FF #52), ignored it
“There are lots of people-without sight—who lead to concentrate on the problems of the handicapped
useful, productive lives! All it takes is guts!” DD tells instead. Easily one of the most well rounded,
him, aware of the irony that he himself is blind! Back memorable characters Lee (and Colan of course!)
home, Willie is unable to rejoin the police department ever created, Willie Lincoln, war hero, police detective
as a detective due to his being tainted by the mob, and and human being was one of the little known and
so hires Matt Murdock to help clear his name. In one unsung triumphs that definitely made these years
of the strip’s rare instances where the readers get to what Lee used to call the Marvel Age of Comics!

Captain America #105 was redrawn from Kirby’s original) and goes on to
“In the Name of Batroc!”; Stan Lee (script), tell a story essentially lifted from an earlier Cap
Jack Kirby (pencils), Dan Adkins (inks) adventure in Tales of Suspense: something called a
Cover: Jack Kirby (pencils), Dan Adkins (inks), John “seismo-bomb” has been brought into New York,
Romita (inks [assist]) and if it isn’t recovered soon, it’ll go off and destroy
On the face of it, it didn’t seem likely that Captain the city (in Tales of Suspense #76, the dangerous
America #105 (Sept. 1968) would be the vehicle for device was called “Inferno 42”). When Cap takes off
one of the most momentous (and overlooked) after the bomb, he runs into Batroc the Leaper, the
breakthroughs of the grandiose years. An example Living Laser and Power Man, each of whom is
of the kind of subtle, revolutionary act committed by defeated handily by the end of the book (and Cap
Lee in his attempts to make his books more socially needs 20 pages to beat Paste-Pot-Pete, er, the
relevant, the mention by Captain America here of Trapster, in #108?). But just as he does, the third and
Jesus Christ (although not by name), was a specific final shockwave erupts from the seismo-bomb and
acknowledgement that, yes, in this realistic world of he and Batroc face a crucial decision: to make a run
super-heroes that is the Marvel universe, characters for it before it blows up or make one last desperate
wrestle with all the same issues of human endeavor effort to defuse it. “I’m gonna try to reach it…and
and inquiry as the reader does in his own, including de-fuse it…or die trying!” declares Cap. “And if you
the existence of God and the challenges of the Ten fail, even Batroc will be among zee victims! The
Commandments and the Sermon on the Mount. bomb is yours, mon ami! My so-great speed will
While not necessarily on a par with more obvious, take me to safety…while you stupidly risk your life
booklength efforts such as the Willie Lincoln or Gabe for zee undeserving masses!” And as the francophone
Jones stories and on a different, non-partisan plane villain makes for the hills, Cap remains behind,
than Thor’s interludes with young people, the alone with his thoughts. “There was another who
acknowledgement by one of Marvel’s most popular gave his life for the masses, many centuries ago,” he
super-heroes of the existence and worth of a muses. “And though he was the wisest one of all,
religious figure (even from a non-supernatural point he never thought of the humblest living being as
of view) was nevertheless shocking and even bold. undeserving!” It was vague and not at all specific,
Long held taboo in the entertainment portions of but in its humble way was just as much a triumph
such media as film, television and genre literature, of the grandiose years as Kirby’s towering art or
religious expression was usually avoided on the Ditko’s humanism or Lee’s many other, more
grounds of alienating parts of their audience. obvious efforts to address the concerns of the real
Comics were no different, world. Disappointingly, although some of the social
and except for the issues raised by Lee were followed up in later years
occasional direct by other writers, religious expression was rarely,
adaptation of episodes if ever again, to be explored.
from the Bible or
denomination-specific Dr. Strange #178
biographies, it was “With One Beside Him”; Roy Thomas (script), Gene
rarely if ever done. So Colan (pencils), Tom Palmer (inks)
Cover: Gene Colan (pencils), Tom Palmer (inks)
when Lee first raised the
possibility of the Of course, it goes without saying that the other half of
existence of God in the the art team that made the Dr. Strange strip so fantastic
Marvel universe with the was Gene Colan. Who could’ve predicted from
Watcher’s fateful uttering Colan’s past career that the wild, psychedelic, no
in FF #72, it opened the holds barred, free-form style he employed for Dr.
door to more such Strange was in him? Where in the world did it all
expressions. And the last come from? Certainly, there was nothing beyond
Picture Stories
place anyone could’ve From the Bible #1. maybe some cinematic/photographic influences in
expected it was in this Except in specialty his work in the war and romance genres to suggest
rather weak issue of publications, the that he’d so suddenly and thoroughly dispense with
Captain America. It starts subject of God was the conventions of the comic book form. Even in his
off with one of the rarely raised in super-hero work for Marvel, on “Iron Man” and
comics, especially
book’s least interesting super-hero comics.
Daredevil, despite learning to open up the page in
covers (the figure of Cap emulation of Kirby’s brand of dynamism and action

there was barely a hint that he’d some day just throw
out all the rules of laying out stories. And yet, even in
his very first issue of Dr. Strange, Colan burst onto the
strip with page after page of dizzying scenes, each
seemingly melting and dissolving into the other,
punctuated now and then (as if showing mercy to the
unsuspecting readers who were probably completely
blindsided by this new radicalism) by an unusual
number of full-page illustrations. Obviously, in
retrospect, Colan’s wide-open approach to Dr. Strange
could’ve been predicted in his increasing use of
overlapping and odd shaped panels in the Daredevil
strip and maybe in a possible conscious desire to
match the example of the otherworldly, even abstract
precedent set by Ditko. In any case, aided immeasurably
by the embellishing skills of Tom Palmer, Colan hit
the ground running on Dr. Strange and never looked
back. Each succeeding issue only seemed to get
wilder and weirder and challenged Roy Thomas to
write scripts that made sense of the kaleidoscope of
imagery that virtually cascaded from the artist’s pen.
And one of the pair’s most incredible forays into the
realm of the supernatural took place in Dr. Strange
#178 (March 1969) which featured such mundane
elements as a traditional team-up (with the Black
© 2009 DC Comics.
Knight) and Strange’s appearance having been
changed from his more sorcerous garb to one more
closely resembling a typical super-hero. But readers
would get very little help beyond that, because from
the very first page they’re thrown into the middle of
a battle between the good doctor and a doppelganger Compared to Marvel’s angry and hard to like
of himself! In no time, panel borders vanish and Sub-Mariner, DC’s sea king could be just a
images begin to dissolve into each other as Dr. tad bland.
Strange seeks out the Black Knight (a good guy version
of the old Iron Man villain recreated by Thomas in a and into uncharted waters. But once finding himself
previous issue of the Avengers) and together, they there, a reader was most likely to discover that rising
bridge the dimensions between Earth and the realm star Roy Thomas was there first! Picking up Lee’s
of the evil Tiboro. A huge, double-page spread leads castoffs (he began briefly on the teen humor titles
into a series of pictures all flowing in the direction of before graduating to Sgt. Fury and His Howling
the action, whether the thrust of a sword or the Commandoes), Thomas wasted little time in making
hurling of a deadly spell, and then, in the climactic them his own. He was doing it with Dr. Strange and
scene, Tiboro is defeated. But there’s no time for was well on his way (in partnership with John
celebration as a new threat looms for the Earth! Dr. Buscema) to making the Avengers one of the company’s
Strange and the Black Knight again change locales, most exciting strips. So how could the same team
but this time instead of crossing dimensions, they fail to make the Sub-Mariner any less so? Answer:
cross over to Avengers #61 where the action continues! easy! Never one of the most exciting concepts for a
strip of his own, the Sub-Mariner was better used as
Prince Namor, the Sub-Mariner #5 the angry, wronged or misunderstood hero-villain
“Watch Out For Tiger Shark”; Roy Thomas (script), John that he was frequently presented as in the years of
Buscema (pencils), Frank Giacoia (inks) consolidation. And although he’d had his own strip
Cover: John Buscema (pencils), Frank Giacoia (inks) in Tales to Astonish for years and graduated to his
With Lee still dominating the scripting chores on own book, his stories in general tended to be
most of Marvel’s titles, it sometimes took some episodic (and seemingly endless!) and less than
effort for a reader to find his way off the preserve earth-shattering. In addition, it suffered from having

weak artists after the departure of Prince Namor, the Sub-Mariner #6

Colan and only picked up visual “And To the Vanquished, Death”; Roy Thomas (script),
steam when Buscema came John Buscema (pencils), Dan Adkins (inks)
aboard with the character ’s Cover: John Buscema (pencils), Dan Adkins (inks)
debut issue. From there, despite The action continued in Sub-Mariner #6 (Oct. 1968) as the near insane Tiger
Buscema’s growing skill working Shark escapes from the laboratory and takes Namor’s girlfriend, the
in the Marvel style and Thomas’ Lady Dorma, hostage. It seems that he’s gotten the idea that on the basis
increasingly lucid scripting,
things seemed doomed to continue
in the dull, Sub-Mariner way
until Sub-Mariner #5 (Sept. 1968).
Suddenly, it seemed, everything
changed! Maybe all it took was to
get Subby out of the deep and
into a land-bound laboratory, but
whatever it was, it worked. The
story opens with Sub-Mariner
being washed ashore and
attacked by a lumbering robot.
Knocked unconscious, when he
comes to, he finds himself at the
mercy of Dr. Dorcas, a mad
scientist type who wants to use
Namor’s power to energize a
former Olympic swimmer
named Todd Arliss into the
super-human Tiger Shark. On
the face of it, the story doesn’t
sound like anything too original,
but it finally gave the Sub-Mariner
his first real (and real interesting!)
super-villain. What a change
from such generic warlords as
Krang and Attuma! And Tiger
Shark even had a flashy looking,
Buscema-designed costume too!
But that wasn’t all
the artist gave the
story; becoming
more comfortable
in the new action-
oriented manner
demanded by
Marvel’s storytelling,
Buscema started
to break out of his
more traditional
style and spread
himself out across the pages.
Panels grew larger, figures
stretched out, even his faces Sub-Mariner #6, page 6. With fast moving scripts by Roy Thomas
became more expressive. This and sprawling art by a John Buscema (who was just entering his
sure wasn’t your father’s Sub- most dynamic period), the early issues of the Sub-Mariner strip
were some of the best kept secrets at Marvel!
Mariner strip!

the years of consolidation Lee had begun to adapt

Bringing the mysteries of the deep to America’s literary and Biblical references to story titles (usually
living rooms, the undersea adventures of real varying them slightly to make them sound more
life explorer Jacques Cousteau became a colloquial but keeping enough of their original wording
fixture on television screens in the 1960s.
so as not to lose their familiarity with readers). Often
the result was that the titles, taken as they were from
of getting away from the “serious” literature, gave stories an added veneer of
Sub-Mariner, he’s entitled importance. Titles like “None Are So Blind!” from
to the crown of Atlantis! Daredevil #17, “Vengeance Is Ours!” from Avengers
(We told you he was #20, “A House Divided” from FF #34 and even the
crazy!) In the meantime, whimsical “Bring Back My Goblin to Me!” from
his curvaceous sister, Spider-Man #27 made stories sound so much more
Diane Arliss, dons a cool than those of the stuffy competition (“Riddle of
diving suit and in defiance the Robot Justice League!” “I Was a Pawn in a Space
of Dr. Dorcas (“I’m Duel!” “Attack From the Tentacle World!”) and went
going after my brother… a long way toward working the company into the
and…you’d better hope good graces of the college students who were an
that I find him, before it’s increasingly significant part of Marvel’s reader base.
too late, or else you’ll Suffice it to say that by the time Roy Thomas made
learn that a woman, too, the scene, Lee had already made pilfering the larger
can know the thirst for world of literature for catchy phrases standard
revenge!”) goes off to look for her brother but finds the operating procedure. Maybe it was because he was a
Sub-Mariner instead (whom Tiger Shark has left for former English teacher, but the possibilities of such
dead beneath a pile of wreckage). Here, Thomas borrowing really seemed to grab Thomas’ imagination.
scores a second time (Tiger Shark was the first). By In no time, he began to take liberties with literary
coming up with the courageous character of Diane quotes and references to popular culture that perhaps
Arliss, he’s managed to add not just the first new even Lee hadn’t considered taking. Quotes for titles
female character to the strip since the dull Lady went from short and punchy to whole lines, such as
Dorma (whom he would finally start doing some the title used for Avengers #64: “Twinkle, twinkle,
interesting things for with the help of the vigorous little star; How I wonder what you are; Up above the
Warlord Seth…), but set the scene for Sub-Mariner to world so high; Like a death ray from the sky!” Which
do some much needed self-analysis in upcoming brings us to Avengers #61 (Feb. 1969) (continued from
issues. In the meantime, he defeats Tiger Shark, but Dr. Strange #178 in which the master of the mystic arts
unable to do anything for the condition that’s driven joins with the Avengers to stop the twin menaces of
him mad, is forced to imprison him until a solution Ymir, the frost giant and Surtur, the fire demon)
can be found. The two-part Tiger Shark story (besides which opens with the familiar lines to the poem by
being one of, if not the best Sub-Mariner stories of Robert Frost “Some say the world will end in
Marvel’s Silver Age) represented a sea change for the fire…Some say in ice!” He may have taken his
strip, giving it a new dynamism that it always seemed advantages, but it didn’t take Thomas long since
to lack; unfortunately, it wouldn’t last long. Thomas being hired to get into the Marvel swing of doing
and Buscema would soon move on to concentrate on things. Taking the ball from Lee, so to speak, Thomas
such other features as the Avengers and Silver Surfer ran with it, and within a few years, he’d even take
and after a few issues by returning veteran Gene over the legendary editor’s job. As things turned out,
Colan, the strip would begin a long slide into hiring the school teacher from Kansas was one of the
mediocrity and eventual cancellation. smartest decisions Lee ever made!
Avengers #61 Avengers #57

“Some Say the World Will End in Fire, Some Say “Behold, the Vision”; Roy Thomas (script),
in Ice”; Roy Thomas (script), John Buscema (pencils), John Buscema (pencils), Marie Severin (pencils assist),
George Klein (inks) George Klein (inks)
Cover: John Buscema (pencils), George Klein (inks) Cover: John Buscema (pencils & inks)
Sometimes, like Lee’s subtle references to God, it was From quoting individual lines, it was only a short step
the little things that helped put the grand in the to using whole poems, which is exactly what Thomas
grandiose years. Little things like story titles. During did in Avengers #57 (Oct. 1968) when he adapted Percy

Avengers #58
“Even an Android Can Cry”; Roy Thomas (script), John
Buscema (pencils), George Klein (inks)
Cover: John Buscema (pencils & inks)
But the story of Ultron 5 didn’t end with #57. It
continued in Avengers #58 (Nov. 1968) where every
member, past and present, comes together to learn the
secret of the murderous robot and why it wanted
them all dead. At the center of the mystery is the
Vision, a synthetic being created by Ultron to assassinate
the Avengers. The Vision embarked on his mission in
#57 when his first victim (perhaps not so coincidentally,
given Ultron’s Oedipal motivations!) was the Wasp.
But somehow, the Vision overcomes his orders to kill
and instead joins the Avengers in seeking out and
Roy Thomas drew upon Greek literature (and
destroying Ultron. Which left the Avengers (and
not a little Freud) for inspiration regarding Thomas) with a problem: what to do with the Vision
the motivations of Avengers villain Ultron. when his original purpose seemed over? Well, it just
so happened that the team was shorthanded at the
time with its active membership cut back to only
Bysshe Shelley’s “Ozymandias” for its concluding Goliath, Hawkeye, the Black Panther and the Wasp.
scene. There, he used the classic poem to underline the Something more, it seemed, than the return of old
fate of Ultron, a robot created by Henry Pym standbys like Captain America and Iron Man was
(Goliath/Giant-Man/Ant-Man). Ultron, although needed to vary the mix. That’s when Thomas decided
possessed of the ability to continually recreate itself in to reach back to both Marvel’s Silver and Golden Ages
more and more deadly versions, had an Achilles’ heel: for inspiration. Having been a fan of comics before
programmed with almost human-like intelligence, becoming a professional, Thomas always enjoyed
Ultron regarded Pym as its “father” and as it evolved, bringing in elements from the past, expanding on
the notion developed into a fixation of Oedipal them, introducing them into current continuity and
proportions. Focused solely on the death of its creator, then exploiting them for story possibilities. From the
Ultron’s early quest for becoming more human company’s early days in the 1940s, he took the name
(and ironically, for conquering the human race) was and green tint of a character called the Vision and
sublimated to this seemingly pointless hatred. But coupled it with another created in issue #9 called
knowledge of Ultron’s motivations would remain a Wonder Man. But unlike the older hero, the new
mystery to the Avengers for some time to come. Vision, of course, wasn’t human but a “synthezoid,”
Meanwhile, Thomas’ script was still being aided and and could pass through solid objects instead of traveling
abetted by the pencils of John Buscema who was at the between dimensions. He did it by regulating his body
height of his powers in these years and, in contrast to mass in such a way as to make him light enough to
his work over Colan on Daredevil, George Klein was float or pass through walls (like a…vision, get it?) or
easily Buscema’s best inker to date (not surprising, dense enough to fall through floors. On top of that, he
Tom Palmer would be the best when he took his turn could fire a heat blast from a gem on his forehead. In
on the job). From his moody introductory scenes of the addition, the new Vision came with the “brain patterns”
Vision, to his action-packed battle scenes in Ultron’s of Wonder Man, which were recorded by the
hidden lair, Buscema never fails to excite! But the Avengers just before his death (Why? “Perhaps he’ll
highlight of the issue is also its final page. With Ultron live again, another day, in another form!” says Iron
(apparently) destroyed and its severed head lying in a Man without addressing any of the possible ethical
vacant lot, Thomas and Buscema construct a justly questions involved). Now things get complicated: In
classic scene around the event. In a wordless a flashback sequence, the Avengers learn that Henry
sequence, a young boy discovers the robot’s head and Pym had been experimenting with “synthetic life,”
in a contemporary twist on Shelley’s cautionary lines and created a “crude, yet workable robot.” But this
on the transitory nature of power and glory, kicks it simpler “Ultron 1” is born with the desire to improve
around to the ironic cadences of “Ozymandias”: “My itself and to destroy its maker. It brainwashes Pym to
name is Ozymandias, King of Kings: Look upon my forget its existence and escapes. Months later, Ultron
works, ye Mighty, and despair.” creates its own far more advanced robot, the Vision
(“You’re basically human Nick Fury, Agent of SHIELD #5

in every way, except that “What Ever Happened To Scorpio?”;
your body is made of Jim Steranko (script & pencils), John Tartaglione (inks)
synthetic parts!”). But Cover: Jim Steranko (script, pencils & inks)
what makes the Vision so In what would be his last job on a regular monthly
humanlike is the fact that assignment, Steranko went out with a bang and an
Ultron has animated him array of special graphic effects that made the conclusion
with the recorded brain of his Scorpio storyline in Nick Fury, Agent of
patterns of Wonder Man! S.H.I.E.L.D. #5 (Oct. 1968) one of the most spectacular
“What must it be like to send-offs in comics. Our tale begins in the post-modernist
be trapped forever in an surroundings of Fury’s apartment and segues
android body, with the directly to the darkened interior of a key shop,
thoughts, the emotions, the quintessential setting for the opening of any
of a human being?” asks self-respecting film noir. But Steranko is nothing if not
Goliath. “I wonder,” bold about shifting from one visual style to another at
muses the Vision, “is it The question of the drop of a hat, and things are no different here as
possible to be, ‘basically whether or not the key shop gives way to a full-page collage of what
human?’” This question robots could be purports to be “…the ESP chamber…citadel of the
of whether the Vision met considered human
or possess such
incredible communicator beam!” Next, Fury is caught
the definition of a human in a “fantastic wave of force” as his Ferrari 330/P4
intangible qualities
being or not would as love and hate Berlinetta is hurled into the air amid a whorl of color.
become the most was not a new The two pages following are typical Steranko, that is,
interesting aspect of the one, having been designed as a full-scale assault on the reader’s visual
new character, a question explored in the
sensibilities (to coin a Steranko-type phrase!). The figure
that Thomas would Adam Link stories
by Earl and Otto of Scorpio is drawn only in a set of concentric swirls
spend the rest of his long Binder. and spirals against a background of blue-colored
tenure on the Avengers force with the holding lines dropped. At the bottom
attempting to answer. For of the first page, Fury’s car is thrown against a force
now however, the Avengers themselves are willing field made in a black-and-white pattern surrounding
to put aside any doubts and fully embrace the the outline of Scorpio seen as only a man shaped hole
synthezoid’s humanity by making him one of in space. The top of the second page has a row of five
them. “Is a man any less human because he has an panels showing close-ups of Scorpio’s face drawn in
artificial leg, or a transplanted heart?” Goliath simulation of the shifting patterns of a color negative
explains to the Vision. “We ask merely a man’s photo. When the “focus” at last clears, the reader is
worth, not the accident of his condition!” It was a treated to a three-quarter-page panel of Scorpio
ringing endorsement of everything Marvel stood himself as he lifts Fury from the wreckage of his car.
for, the essential worth of every living being, even But Steranko doesn’t stop there; panels on the following
its villains (despite the questionable logic behind page are shaped like the pieces of a jigsaw puzzle
the definition of what it is to be human in the case (symbolic of the different pieces of the Scorpio story
of the Vision when the Avengers know he’s that are only now coming together) and in a diabolical
“made of synthetic parts. And your brain…” “is plot to kill Fury, Scorpio fixes it so that the SHIELD
not truly a brain at all, but a maze of printed ramrod is mistaken for a test LMD and forced to run
circuits…of a mind long dead!”). Supporting a a deadly, abstract gauntlet of Steranko-styled killing
great story is an equally fabulous art job by technology (set across a double-page spread). Of
Buscema, who (aided by George Klein) knocks course, Fury survives and even manages to catch up
’em dead this issue with a full roster of colorful with Scorpio, who’s infiltrated SHIELD in the guise of
heroes, none of whom seem to ever just stand still! Fury himself. Finally, Scorpio is gunned down in a
Constant movement seems to be the name of the fusillade of gunfire and, falling into the nearby river,
game with Buscema, especially skillful at showing is never seen again. But before the end, Fury saw him
the emotions of the characters either through their without his mask and recognized him for his own
faces or, more interesting still, their hands, with the long lost brother. Or did he? Steranko never let on but
climactic example coming in the last page of the the story was a fitting end to one of the most impressive,
story as the Vision, upon learning of his wildly inventive series in comics history. Made all
acceptance into the Avengers, sheds a single tear. the more interesting, even intriguing due to the
Scorpio-like enigmatic nature of its creator, will anyone ever really X-Men #50
know from what wellspring of creative energy the self-taught “City of Mutants”;
Steranko tapped it all? Arnold Drake (script),
Jim Steranko (pencils),
John Tartaglione (inks)
“This Boy--This Bombshell!”; Arnold
Drake (script),
Werner Roth (pencils),
John Verpoorten (inks)
Cover: Jim Steranko (pencils &
inks)
By X-Men #50 (Nov. 1968), the title
had fallen on hard times.
Abandoned most recently by
Thomas, scripting chores on the
strip had been handed over to DC
veteran Arnold Drake. Now, in
addition to having suffered
through the death of Prof. X,
splitting up and the indignity of
appearing under a different
masthead every issue, the mutant
team would have to bear the burden
of Drake’s leaden prose. To be fair,
it really wasn’t his fault. Trained
in the rigid, rule-bound atmosphere
of DC comics where editors
reigned over their books like
absolute monarchs
and the product was
rarely considered to
be more than fodder
for the kiddies,
Drake was in over
his head at Marvel.
Hired by Lee
(perhaps on the
strength of his
having worked on
DC’s Doom Patrol, a

strip similar in many ways to the
X-Men that failed miserably to
live up to its otherwise cool title),
Drake was placed where it was
presumed he could do little harm
and proceeded to give Cyclops a
Nick Fury, Agent of SHIELD #5, page 8. Leaving regular series long lost brother (eventually
comics at the height of his artistic development, there is code-named Havok) and to create
little evidence in Marvel comics of Steranko’s decline as an artist Lorna Dane, a woman with mild
(save perhaps in a handful of covers he did for the company in the magnetic powers (eventually
twilight years). It is a truism that most artists inevitably lose much code-named Polaris) who was
of the creative powers that energized them in youth but Steranko
chose to leave regular comics before that happened. And as this page
purported to be the daughter of
of the SHIELD strip amply demonstrates, Steranko had no Magneto. Into the mix Drake then
intention of going out with a whimper! introduces a villain called
Mesmero, a kind of worshipper at
redesign the book’s original logo (only recently

restored with #49) with a new, 3-D masthead that
virtually screamed excitement and energy. Beneath
it was what has since become a classic Steranko
image: Lorna Dane hovering in the air like a green
goddess, her arm outstretched in regal command as
energy crackles all around her. Beneath her, poised
as if in fearful reverence, are the X-Men. If the promise
of a cover like that could’ve been maintained
through the whole book, it would’ve made for an
incredible comeback for a feature that really hadn’t
been exciting since the departure of Lee and Kirby.
Unfortunately, again, it wasn’t to be. Sure, the
insides were filled with more wonderful Steranko
images, but the soul had been leached out of his
work. Matched with inker John Tartaglione, a
serviceable but in this instance, unsatisfying partner,
Steranko’s art appeared lackluster, even half-hearted.
But such was the artist’s talent that his design sense
alone would keep it from being ruined by even the
most inept of embellishers. A full-length shot of
Lorna Dane in all her curvaceous grandeur is a
knockout and a nice team profile of the X-Men
reacting to her is good too. But even the surprise
appearance of Magneto himself in the final panel
isn’t enough to save this book, which was all the
more disappointing because of the glimpse it gave of
what might’ve been but failed to deliver.
X-Men #51
“The Devil Had a Daughter!”; Arnold Drake (script), Jim
Doom Patrol #115. A somewhat more Steranko (pencils), John Tartaglione (inks)
dramatic cover than the Doom Patrol was used “The Lure of the Beast-Nappers!”; Arnold Drake
to, it was nevertheless the training ground (script), Werner Roth (pencils), John Tartaglione (inks)
from which Lee hired Arnold Drake. Cover: Jim Steranko (pencils & inks)
Steranko struck again in X-Men #51 (Dec. 1968) with
the altar of Magneto with delusions of grandeur. another classic cover image, this time with the
Something interesting might’ve been made from it figure of a Viking blasting a set of diminutive and
all, but unfortunately the story that continued into dramatically posed X-Men. Inside, it was more of
this issue wasn’t that good and a definite air of the same from the previous issue as John Tartaglione
strangeness and unfamiliarity hung about it that just again did the inking honors. This time however, he
didn’t sit well with what the X-Men readers had appears to have applied himself a bit more, because
known for so long. Not helping was Drake’s script: there seemed to be increased detail in the figures
“What gross evil lurks behind that grim gothic (with, unfortunately, a corresponding lack of detail
façade?” wonders the Beast as the X-Men prepare to in the backgrounds). Although Steranko didn’t provide
invade Mesmero’s lair. “It gives me the screaming any really memorable graphic images this issue, he
meemies just to look at it!” thinks Marvel Girl. does treat readers to a series of impressive shots
“That’s one cookie jar I’m gonna like bustin’ into!” showing figures in various action poses (a shot of
muses the Angel. “Carefully! A wily mind hides the Angel alighting behind Cyclops as the team’s
behind those murky walls!” Cyclops warns the reader. leader lets loose with an energy blast is particularly
It was pretty bad, but the kicker is that the whole fine). The story however, still isn’t anything to write
mess was illustrated by the hottest artist in comics! home about with Drake at least managing not to
Fresh off the SHIELD strip, Steranko signed on for a offend the readers’ intelligence. Drake also provides
short stay on the X-Men. The first thing he did was the words for the origin of the Beast back-up


Avengers #59
X-Men #51, page 1 (opposite “The Name Is Yellowjacket”; Roy Thomas (script),
page). Not well served in this John Buscema (pencils), George Klein (inks)
instance by the inks of John Cover: John Buscema (pencils), George Klein (inks)
Targlione, Steranko’s sense
of design still managed to Wow! Were Thomas and Buscema hot or what? On the heels of the
come through in his issues of
the X-Men. In a kind of
holding pattern, Steranko’s
creative juices would come
to a boil again only the
next month when he took
over from Kirby on the
Captain America feature.
feature drawn by Werner Roth.

The origin of the X-Men back-
ups, which began under
Thomas back when the book
was teetering on the edge of
extinction (not that
it still wasn’t by
the time of this
issue!) turned out
to be extreme
disappointments
with their lack of
solid characteriza-
tion and exploration
of the anti-mutant
hysteria. The stories
were also hampered
by the decision to include some
kind of super-villain in each of the
origins, which tended to dilute the
more immediate struggle of the
young mutants with the fear and
bigotry they experienced from
almost everyone they met before
finding sanctuary at Prof. Xavier’s
School for Gifted Youngsters. The
good news was that the X-Men
book wouldn’t have to suffer
much longer. After another few
issues of mediocrity (which
nevertheless had the distinction
of featuring the debut of a young
artist named Barry Smith),
Thomas would return, fired up
Avengers #59, page 11. At the height of his dynamism, John
from his great work on Dr. Strange Buscema turned in a number of extraordinary jobs around the
and the Avengers and teamed with same time as this issue of Avengers including work on the Sub-
an artist, new to Marvel, who’d Mariner and Silver Surfer. Unfortunately, the sense of artistic
help turn the strip around, making freedom he felt in these months was cut short and Buscema
it one of the best ever to come out would return to more standard layouts for all the years he
remained at Marvel.
of Marvel.

Ultron/Vision saga, they follow right up with another to the distraction, was the slam-bang artwork of
great story that not only features a colorful new Buscema (still aided by the impressive inks of
character, but also comes tinged with an undercurrent George Klein) and an eye-catching coloring job by
of psychological tension. Avengers #59 (Dec. 1968) unsung Stan Goldberg (who began life as an artist
introduces Yellowjacket, a new hero on the block himself until finding his true calling in Marvel’s
with a chip on his shoulder the size of a redwood coloring department). And what a chance Goldberg
tree: “The witness stand is for stoolies, Clyde!” had with the Avengers strip to show off his palette!
snarls Yellowjacket when told by a police officer that Goliath in red, purple and yellow; Hawkeye in
as a material witness, he’d have to appear at the trial violet and purple; the Vision in yellow, red and
of three fur thieves he caught in the act and knocked green; the Panther in blue and Yellowjacket in
senseless. “I play cops ’n’ robbers, let somebody else yellow and gray! With Buscema, Klein and
play judge ’n’ jury!” Meanwhile at Avengers Mansion, Goldberg on the job, it was a lead pipe cinch that
Thomas keeps his stock in trade characterizations no other strip in the company’s line-up looked as
moving with a neat two-page sequence (each page is snazzy as the Avengers!
further divided into two pairs of vertical panels) by
Buscema devoted to each Avenger’s personal problems Avengers #60
(the Wasp worries about the disappearance of her “Till Death Do Us Part”; Roy Thomas (script),
overworked boyfriend, Henry Pym; the Black John Buscema (pencils), Mike Esposito
Panther is torn between the fun of being an Avenger [as Mickey Demeo] (inks)
Cover: John Buscema (pencils), George Klein (inks)
and his duty as king of the Wakandans; the Vision
broods over being accepted by larger society and Although Buscema and Goldberg continued to
Hawkeye fears for the safety of the absent Black provide the visual pyrotechnics in Avengers #60 (Jan.
Widow). Suddenly, a figure appears in a doorway: 1969) (Klein had been replaced on the inks by the
it’s Yellowjacket, smirking and chewing on a wad of serviceable but unexciting Mickey Demeo), its story
gum. It seems he’s killed off Hank Pym and now was undermined by a couple lapses in logic. Of
expects to take his place on the team! The others give course, Thomas’ intentions for “‘Til Death Do Us
him time to talk, to tell them how he defeated Part” were probably noble: to get Goliath and the
Goliath, then attack him. Yellowjacket holds them all Wasp hitched while slowing down the story as little
off until, taking the Wasp hostage, escapes with her. as possible. So what results is still, by any definition,
Later, in a treetop hideout, he apparently seduces a rollicking good yarn! It opens with Captain
her, and when next the reader sees them, it’s to America receiving an engraved invitation to the
announce their engagement! But hold on! Is wedding of Yellowjacket and the Wasp, an event no
everything here the way it seems? How, for instance, one on the team can believe is actually happening,
did Yellowjacket get into Avengers Mansion so easily? but it’s true. “Hank’s gone,” says the Wasp. “But I’ve
Where did he get such got another chance at happiness! And, I won’t let
insect-type abilities as this one slip away, not for anything!” The lady
his stingers, control over apparently means it! Meanwhile, as all the heroes in
real yellowjackets and the Marvel universe gather in the parlor of Avengers
especially the power to Mansion (they could do that in those days), the
shrink? What happened Ringmaster and his Circus of Crime plan to crash the
to Hank Pym’s body? party by replacing the caterers and jumping the
And most of all, why heroes by surprise. First lapse in logic: did Thomas
would the Wasp agree to expect anyone to swallow such an outrageous
wed Goliath’s murderer? mismatch? Anyway, the marriage proceeds accordingly
It was a fast-moving yarn with the vows being exchanged followed immediately
told in such breathless by the not completely unexpected appearance of the
style that it left little time Circus of Crime. (By this time, it was de rigeur for
for a reader to think super-hero weddings to be interrupted by a gang of
things through. Adding super-party poopers). The only question to decide is,
which heroes will get to demolish them?
Fortunately, everyone gallantly steps aside to allow
A colorist at Marvel in the grandiose years, the Avengers the honor (it was their book after all).
Stan Goldberg turned in extraordinary work on
The ensuing battle is mercifully swift and climaxes
Buscema’s books.
with the surprise revelation that Yellowjacket was

Barry Smith
Barry Smith had the distinction of being the first fan artist hired
by Marvel without possession of any prior professional experience.
Although a trailblazer for many other young artists who followed
in his footsteps, Smith’s own early work was slavishly in the style
of Jack Kirby. But very soon his art began to evolve, moving through
different phases until he was chosen as the penciler for Conan the
Barbarian, Marvel’s first licensed property. Perhaps inspired by Robert E.
Howard’s often stirring prose, Smith’s work quickly improved until,
outgrowing comics, he left the industry to strike out on his own.
really Goliath all along (growing to giant size, he Readers in 1968 could’ve been forgiven for not seeing
bursts out of his Yellowjacket togs; but are we to just what made X-Men #53 (Feb. 1969) special. It sure
believe that, suffering from amnesia until this wasn’t the story (still by Arnold Drake) nor was it the
moment, he had the foresight of wearing his Goliath artwork, which was nothing to write home about. In
threads underneath them all this time? Or maybe fact, it was a pretty bad, third-rate imitation of Jack
it was the conscientious Wasp who had something Kirby. Who could’ve predicted then that the penciler,
to do with it?) Apparently, Goliath got a whiff of newcomer Barry Smith, would end up making one of
schizophrenia inducing gas that split his personality the most amazing personal transformations in the
in two: the Yellowjacket personality was the more history of comics, become one of the industry’s best
reckless, bolder side of himself that dared to go after and most popular artists and finally (like Steranko
whatever he wanted which, in this case, was the before him) transcend the medium itself? The first of
Wasp. As plain old Henry Pym, he was always the new breed of artists to rise from the ranks of fans
wracked by such doubt and guilt (over the death of that had grown up reading and devouring Marvel
his first wife behind the Iron Curtain) that he could comics, Smith, like the character he’d become most
never bring himself to pop the question. Which raises closely associated with, would “tread the jeweled
the final lapse of logic: the Wasp said that she found thrones” of the comics industry “under his sandaled
out the truth about Yellowjacket when she kissed him, feet.” But that was a few more years in the future.
but would she really have gone through a wedding Right now, Smith was just breaking in, and according
with the knowledge that she may have been marrying to him, this issue’s story was drawn on a park bench
a lunatic? And what about the ethical question of (having come to America from Britain to work in
marrying someone who didn’t know what they comics Smith, in his eagerness, hadn’t thought about
were doing? Was it even legal? Sure, it doesn’t securing someplace to live) and intended for
sound like much, but in a world that’d been built presentation at the Marvel offices as part of his
slowly and painstakingly over the years on bringing portfolio. To his surprise, it was promptly accepted for
realism to its characters and stories, it was at least a immediate use in the X-Men book! Smith’s tale is
disappointing misstep for Marvel. probably apocryphal, but fits well with the desperate
straits the X-Men had fallen into. But however Smith’s
X-Men #53 first story came to appear, it at least sported more
“The Rage of Blastaar!”; Arnold Drake (script), Barry energy than the X-book had seen (outside of
Windsor-Smith [as Barry Smith] (pencils), Mike Steranko’s efforts) since Kirby left off on full pencils in
Esposito [as Michael Dee] (inks) #11. And if Smith had to be influenced by someone, he
“Welcome To the Club, Beast!”; Arnold Drake (script),
Werner Roth (pencils), John Tartaglione (inks) couldn’t have picked a better model than the originator
Cover: Barry Windsor-Smith [as Barry Smith] of Marvel’s visual style. Later, his influences would
(pencils), Mike Esposito (inks) expand to include Steranko (himself, a progeny of
Kirby) before metamorphosing into a more personal,

but still relatively primitive, style. It was to be a hardly apparent this issue as he delivers a short
pattern followed by all the upcoming artists of his masterpiece of action that’s barely encumbered with
generation: the influence and crude emulation of plot or characterization (Cap has to rescue girlfriend,
Kirby or other artists of the 1940s or ’50s, the first Sharon Carter, who’s been kidnapped by a pumped
awkward steps toward the development of their own up Trapster [nee Paste-Pot-Pete]). What it does have is
personal styles and finally a full flowering of individual a script by Lee (whose once wordy writing style had
expression. Such would be the paths of artists like Jim itself been pared back to its most sparse) and together,
Starlin, Craig Russell and Paul Gulacy (and at DC, the two men endow a simple, bare bones, single-issue
Bernie Wrightson and Michael Kaluta) who were story (that was basically no different than those they
destined to supplant their idols and redefine the once told in the early, formative years) with the sense
look of Marvel in the twilight years. of raw power that readers had come to expect of the
grandiose years. But representing the full realization
Captain America #108 of the grand style, this issue illustrates how it was also
“The Snares of the Trapster!”; Stan Lee (script), becoming a hollow imitation of itself and anticipated
Jack Kirby (pencils), Syd Shores (inks) the time when the cutting edge of creativity would
Cover: Jack Kirby (pencils), Syd Shores (inks) pass from such flagship titles as the FF, Spider-Man and
Despite the grandiose years having already crested, the Avengers, to new features with only the slightest
there could still be no better example of the zenith of relation to the larger super-hero universe. Marvel, just
that style than that encapsulated in Captain America on the cusp of its twilight years, was coasting on the
#108 (Dec. 1968). But under its placid surface, dangerous titanic achievements of its own recent past.
currents were running: although well disguised
beneath another fabulous inking job by Shores, Silver Surfer #3
Kirby’s art style had reached the end of its evolution. “The Power and the Prize”; Stan Lee (script),
Already it had begun to feed upon itself, repeating the John Buscema (pencils), Joe Sinnott (inks)
“Why Won’t They Believe Me?”; Stan Lee (script),
same tropes of figure work and layout. But relying on Gene Colan (pencils), Paul Reinman (inks)
the traditional 4-, 5- or 6-panel per page layout (while Cover: John Buscema (pencils), Joe Sinnott (inks)
throwing in an occasional full-page illustration), Kirby
still had no trouble dazzling his fans by using it to Meanwhile, Lee seemed to be pouring most of his
present the heroic figure of Captain America to greatest personal creative energies into the ongoing Silver
effect. Nevertheless, for Surfer strip. Still a blockbuster 40 pages long and still
the remainder of his illustrated by John Buscema, the book continued to
career at Marvel, Kirby appeal mainly to the older Marvel cognoscenti, those
would mark time as his initiates into the inner mysteries of the company’s
style began its long mystique. With his intended audience clear, Lee turned
descent into creative the strip into a combination allegorical/representational
senescence. It would be in exercise whose symbolism college students studying
marked contrast to the Poe, Faulkner and Steinbeck wouldn’t have been
more vibrant styles of unfamiliar with. And though readers might’ve been
such artists as Gene forgiven for not “getting it” with the feature’s first
Colan, John Buscema and couple of issues (those expecting Kirby’s detached,
Jim Steranko who were emotionless Surfer from FF #s 49-50 were sorely
eagerly exploring the disappointed), there was no excuse after Silver Surfer
limits of the medium by #3 (Dec. 1968)! Now whatever messianic overtones
using more dynamic the strip may have hinted at before were made explicit
figure work, discarding in this, the best issue of the series. Lee might as well
traditional panel layout have pointed a sign at the scene, early in the story,
and applying the full As the grandiose that showed the Surfer, arms outstretched Christ-like
range of graphic tools to years came to a and appealing to the heavens: “Forgive me for what I
the insular world of close, Syd Shores’ am about to do! And grant me the strength so that I
inking, like those of may forgive them who have driven me to do it!”
comics. In comparison to
Bill Everett, gave Though the Surfer continues to try to help humanity,
them, Kirby looked new life to Kirby’s
increasingly stodgy and increasingly by the
he remains misunderstood and rejected, feelings
inflexible. But the faults numbers pencils. familiar to Mephisto(pheles): “How oft before have I
in Kirby’s style were trembled in the presence of such awesome goodness.

Martyrs all, whom men themselves, Daredevil #48

in their abysmal madness, did “Farewell To Foggy”; Stan Lee (script),
forsake! And now, he too has Gene Colan (pencils), George Klein (inks)
been forsaken, he too has been Cover: Gene Colan (pencils), George Klein (inks)
denied!” Although not referred to
as such, Mephisto is the devil, the
personification of evil, jealous of
his purpose in testing and seducing
human beings to deny their innate
goodness. Now, he perceives a
threat in the example of the Surfer
and determines to capture him for
Hell by corrupting his soul. And
then, like Christ’s temptation in
the desert, the Surfer is presented
with visions of riches beyond
comprehension, the pleasures of
the flesh and dominion over vast
galactic empires. But, also like
Christ, the Surfer spurns them all
and though he wins the battle
against Mephisto, the war will go
on because “The choice between
good and evil is made by all who
live, with every single heartbeat!”
But a story like this wouldn’t have
worked unless it had just the right
kind of art and here John Buscema
provided one of the best jobs of
his career. Truly at the height of
his powers with his work this
issue and over in the Avengers,
Buscema transforms what’s
ostensibly a super-hero strip
into a neo-religious woodcut, a
cautionary tale of
the power of evil
with images of a
regal, brooding

Mephisto that
would remain for
decades as comics’
preferred look for
the devil. This
issue of the Silver
Surfer was a fabu-
Daredevil #48, page 20. Before there was Rudy Juliani there
lous vindication of
was—Foggy Nelson? When Marvel first located its heroes in
Lee’s unique ability to tell exciting New York City, it instantly gave them more credibility than their
super-hero adventures while at counterparts living in such mythical places as Central City, Star
the same time structuring plots City, or Metropolis. With the door opened, it was only a matter
around more serious themes of time before characters such as Foggy moved up to real life
and ideas and was proof that the positions like district attorney. It was only too bad that the
portly lawyer’s political career was never exploited as well as it
grandiose years had not yet run should have.
out of steam.

One of the most important elements that separated Marvel from its Lyndon Johnson or even the
competitors was its heightened sense of realism not only in how it Beatles!) might take part in stories.
handled its characters, but how it portrayed the world they lived in. But none of those examples
For instance, characters struck by flying bullets could be killed (as seemed to have the immediacy
Frederick Foswell was in Spider-Man #52) or they could lose their that came when a fictional character
homes due to such mundane reasons as inability to pay the rent (as occupied the place of a public
the FF did in Fantastic Four #9) or live in real life cites (like New York figure. Now obviously, there
or San Francisco) or even real world personalities (such as Kruschev, were some jobs that had to be off
limits, like President of the
United States for example. If a
fictional character occupied a
high profile position like that, it
would be too much to ask of a
reader ’s suspension of belief
(since everybody knew who the
real president was). But other
positions, those not necessarily in
the eye of the general public
(would readers anywhere but
those in Boston say, know who
the city’s Deputy Mayor was?)
were certainly up for grabs.
Such was the case in Daredevil
#48 (Jan. 1969) when Foggy
Nelson runs for and wins the
position of District Attorney for
New York City! Not only was
the move a great way to add to
the realism of Marvel’s comics
(after all, even if the same event
took place at the competition, a
character there would only end
up as DA of “Central
City,” “Coast City”
or “Star City!”), but
it opened up lots
of new possibilities
for future storylines
(in his capacity as
DA, Foggy would
pop up in other
titles unrelated to
his role in Daredevil).
Why, even in this
issue, Foggy’s already become
the target of an underworld
fearful of his reputation for
being hard on crime. They hire
Captain America #109, page 1. Kirby’s swan song on the the Stilt Man to knock him off
character that he had become most identified with was fittingly a (or at least frighten him from the
return to its roots. Bolstering the artist’s vision were inks by race) and what follows, naturally,
Syd Shores whose own style continued to complement Kirby’s is action, action, action as only
massive figures allowing them to explode from panels that had
Gene Colan at the top of his
seemingly grown too small for them.
form can dish it out!

Captain America #109 the influence of the grand style, all the familiar scenes
“The Hero That Was!”; Stan Lee (script), seem heightened in their dramatic impact as Steve
Jack Kirby (pencils), Syd Shores (inks) Rogers is transformed into America’s super-soldier,
Cover: Jack Kirby (pencils), Syd Shores (inks) subdues the Nazi assassin of Prof. Reinstein (“Fascists
All good things eventually come to an end and have always misjudged free men! No man fights as
although he’d continue working at Marvel for another well as the one who battles to rid the earth of
two years, creatively speaking, the end had come for tyranny!”) and teams up with partner Bucky Barnes.
Jack Kirby. Oh, there’d be a few more entertaining
issues of Thor and the FF, but none would have the So ended Marvel’s grandiose years, the culmination of
visual impact that came with the introduction of the one of the most exciting developments in the history
Inhumans, Galactus or the Negative Zone. No artist of pop culture. And in an America that was becoming
could maintain that kind of creative energy forever; increasingly youth-oriented, with pop culture quickly
and Kirby had set the bar too high, even for himself. replacing high culture, that was no small feat: just look
Sooner or later his energies were bound to run out and at the competition there was in film, television, music,
when it happened a kind of mental fatigue would set theater, and fine arts! Through it all, Marvel Comics
in: the mind would slip into familiar patterns and tend grew and flourished and due in no small part to the
toward the smooth road rather than the one filled with inventiveness of its writers and artists and the
stones. But unlike many of his contemporaries, Kirby creativity they lavished on every page of their work,
had still been able to beat the odds for years, the company managed not only to revitalize an
remaining for decades one of the most influential and industry that had been on life support, but to thrust it
exciting artists in the history of comics. Now, however, into the public consciousness as well. At last, it was
his luck had run out and Captain America #109 (Jan. hip to read comics and those behind their creation
1969) was to be Kirby’s last great art job for Marvel. In began to emerge from the anonymity that had always
the past, inkers such as Dick Ayers, Chic Stone, Joe surrounded them to take their rightful place in the
Sinnott and Vince Colletta had all made prime Kirby spotlight. It would be ironic then that the spotlight
look even better, but one by one they’d either fallen by would begin to fade all too soon.
the wayside or lost some of their own creative powers. Though no one knew it at the time, the company
That left Syd Shores to fill the creative gap and much was entering its twilight years as both Stan Lee and
of the reason why this issue (indeed, much of Kirby’s Jack Kirby began to lose interest in their work. In
output for the last year) would be Kirby’s last hurrah another year, Kirby would leave Marvel for DC,
(the cover showing the massive figure of a star- hoping to quit penciling and to become an editor of
spangled Cap bursting through a sheet of newsprint his own line of books, while Lee preferred wheeling
should settle any argument to the contrary!) was and dealing in Hollywood to slaving over a
because it would also be his final team-up with the typewriter. In the meantime, though Marvel would
veteran artist/inker. Fittingly Kirby’s last Cap story continue to ride the roller coaster for a few more years,
was a retelling of the character’s origin. The story the vital energy that had launched it to greatness was
opens with a vignette harking back to the days of to become ever more dissipated. A wave of new
World War II, which then “fades out” into the face of creators would flourish, initiating a new artistic
Steve Rogers as he reminisces with Nick Fury. It was paradigm. Instead of a house style patterned on
plain here that despite their familiarity to long-time Kirby’s brand of action, the focus would now be more
readers, Kirby’s tropes still worked! Next there’s a along the lines of personal expression. Away from the
huge, full-page portrait of Rogers, suddenly grown flagship titles, homogenization would no longer
introspective: “I have to live in a world that should apply. So much so, that when Kirby returned to
have passed me by! Too young for the generation Marvel in the mid-1970s he would find himself an
which should be mine, and yet too old for the role in anachronism. The twilight years would also be
which fate has cast me.” The paradox of a man caught marked by an explosion of new titles that further
out of his time and his struggle to adjust would diffused the company’s editorial focus. Things would
become the dominant theme in future issues. With Lee begin to spin out of control and leadership become
assuming full control of the strip following Kirby’s unstable until by the 1980s, it would take a strong
departure, the balance between action and hand to put it all back together again. But the story of
characterization would be equalized. In the meantime, how that happened is a tale for another volume
Cap’s origin story continued largely the way it had covering Kirby’s last months at Marvel, the rise of Roy
been presented in Tales of Suspense #63. But that took Thomas as editor in chief, and the recruitment of an
place during the years of consolidation, now, under exciting new group of writers and artists.

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E-mail: twomorrow@aol.com • Visit us on the Web at www.twomorrows.com
John Romita Gene Colan Marie Severin John Buscema
Stan Lee Jack Kirby Steve Ditko Don Heck
A
fter being relegated to the realm of children’s
literature for the first 25 years of its history,
the comic book industry experienced an unexpected
flowering in the early 1960s. A celebration of that
emergence, Marvel Comics in the 1960s: An Issue
by Issue Field Guide to a Pop Culture Phenomenon
presents a step-by-step look at how a company that had the
reputation of being one of the least creative in a
generally moribund industry, emerged as one of the most
dynamic, slightly irreverent and downright original
contributions to an era when pop culture, from Tom Wolfe
Roy Thomas Bill Everett
to Andy Warhol, emerged as the dominant force in the
artistic life of America. In scores of handy, easy to reference
entries, Marvel Comics in the 1960s takes the reader from
the legendary company’s first fumbling beginnings as
helmed by savvy editor/ writer Stan Lee (aided by such
artists as Jack Kirby and Steve Ditko), to the full maturity
of its wild, colorful, offbeat grandiosity. With the history
of Marvel Comics in the 1960s divided into distinct phases,
author Pierre Comtois explains just how Lee, Kirby, Ditko,
et. al. created a line of comic books that, while grounded in
the traditional elements of panel-to-panel storytelling,
broke through the juvenile mindset of a low brow industry
and provided a tapestry of full blown pop culture icons.
Dick Ayers Barry Smith
Pierre Comtois was born and currently resides in Lowell,

TwoMorrows Publishing Massachusetts. A freelance writer, Comtois has had dozens of
Raleigh, North Carolina articles and short stories appear in magazines as diverse as Nocturn
and The Horror Show, Military History, Civil War Magazine, Comic
Book Marketplace, and Comics Source and books such as The Ithaqua
Cycle, Book of the Dead, Lin Carter’s Anton Zarnak: Supernatural Sleuth,
ISBN-13: 978-1-60549-016-8
ISBN-10: 1-60549-016-4 The Way the Future Was, an anthology of science fiction stories, and
52795 Our Lives, Our Fortunes, Our Sacred Honor: Capsule Portraits of Figures
From the American Revolution. You can visit Pierre on the internet
at www.pierrevcomtois.com.
9 781605 490168
ISBN 978-1-60549-016-8
Joe Sinnott
$27.95 in the U.S.

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TwoMorrows.Celebrating The Art & History Of Comics. (& LEGO! )

An Issue by Issue Field Guide to a

Marvel Comics In The 1960s

Written by Pierre Comtois

©2009 Pierre Comtois and TwoMorrows Publishing

2 Mar vel Comics in the 1960s

Key Marvel Moments:

4 Mar vel Comics in the 1960s

of the Marvel line of to open up the stuffy

6 Mar vel Comics in the 1960s

Simon and Kirby kept busy through the 1950s, sometimes

8 Mar vel Comics in the 1960s

with young people on college campuses across

10 Mar vel Comics in the 1960s

J udging by their impact on the industry

The Early, Formative Years 11

way to market his comics. A deal

12 Mar vel Comics in the 1960s

The Early, Formative Years 13

14 Mar vel Comics in the 1960s

The Early, Formative Years 15

(who would prove to be one of Marvel’s most popu- Fantastic Four #2

16 Mar vel Comics in the 1960s

“I want Sue to look at me the way she looks at you,”

The Early, Formative Years 17

© 2009 Marvel Characters, Inc.

true super-villain and the first in a long line of bad

of the moon, but that idea was

20 Mar vel Comics in the 1960s

To make matters worse, when powers in the real world and

22 Mar vel Comics in the 1960s

The Early, Formative Years 23

Journey Into Mystery #83

(script), Jack Kirby (pencils),

24 Mar vel Comics in the 1960s

© 2009 Marvel Characters, Inc.

Journey Into Mystery #83, pg 1 (above); Weird Comics #1 (left).

The Early, Formative Years 25

in Tales to Astonish and the overconfident (“I have

26 Mar vel Comics in the 1960s

The Early, Formative Years 27

nest who was boss, Ant-Man leads

28 Mar vel Comics in the 1960s

Strange Tales #101

The Early, Formative Years 29

ence he once had on the Hulk

The Early, Formative Years 31

later, but even if that wrinkle had been resolved in

32 Mar vel Comics in the 1960s

action in pencil with a secondary

The Early, Formative Years 33

realizing that Rick is the only Tales of Suspense #39

© 2009 Marvel Characters, Inc.

Tales of Suspense #39, page 7. Prof. Yinsen sacrifices his life so

34 Mar vel Comics in the 1960s

The Early, Formative Years 35

36 Mar vel Comics in the 1960s

find a job, Peter spies his Aunt sell-